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Title: Why do I dance ... Why do I breathe : life histories of advertising creatives
Author: Gilmore, Charlotte
Awarding Body: University of Edinburgh
Current Institution: University of Edinburgh
Date of Award: 2006
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The study identifies two gaps in related fields of literature: in the creativity literature, the lived experiences of advertising creatives, their field and culture have been unexplored, and in the advertising literature, the relationship between the creatives' life histories and their creativity has not been explored. Therefore this study has explored the life histories of advertising creatives and the nature of advertising creativity. Life history interviews were conducted with thirty four advertising creatives, including art directors, copywriters, creative directors and creative chairmen in London, Edinburgh and Glasgow agencies. This study provides a better understanding of advertising creatives, their creativity and their experiences of their organisational culture and context than currently exists. "How can we know the dancer from the dance?" These lines from Yeats illuminate the central relationship found in this study: that between advertising creatives and their creativity. Just as Yeats recognised that it is impossible to separate the dancer from the dance, this study concludes that creativity is the central source of meaning throughout the creatives' lives. The creatives experience "flow " as an intrinsic part of their "dance " (Csikszentmihalyi, 1996). Central to their creative success in advertising is their pas de deux: the "dance " for two. Dancers, like spouses in good marriages, grow together, complement and support one another. Sometimes like 'Rudi and Margot', the chemistry and diversity between the partners creates something unique. The creative director is also important to the choreography of their work; thus creatives strategically create their careers. To the creatives the most important members of their audience are their peers. Critical creative success influences their professional identities, career trajectories and life course. A 'contemporary' hotshop or a 'classical' service company determines the type of culture and structure the creatives 'live' within and the dance they perform. Just as contemporary companies lead the development of new ways of dancing, creative hotshops in advertising are redefining how marketing communications is practiced, particularly in terms of how creatives relate to clients and expanding media options.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available