obsession with brilliance: masculinities and creativity in transnational advertising agencies.

240 Pages·2016·8.24 MB·English

by  Paul Priday

O B :
BSESSION WITH RILLIANCE
M C
ASCULINITIES AND REATIVITY IN
T A
RANSNATIONAL DVERTISING
A .
GENCIES

PAUL A.B. PRIDAY
(June 2016)

A thesis submitted in fulfilment of the requirements
for the degree of Doctor of Philosophy,
Department of Gender and Cultural Studies,
School of Philosophical and Historical Inquiry,
Faculty of Arts and Social Sciences,
The University of Sydney.

1
DECLARATION

I declare that the substance of this thesis has not been submitted already for any
degree, nor is it currently being submitted for another degree.
I certify that the intellectual content of this thesis is the product of my own work and
that all the assistance received in preparing this thesis has been acknowledged.
I certify to the best of my knowledge that all sources of reference and their authors,
wherever known, have been acknowledged in this body of work.
Signed:
Paul A.B. Priday
30 June 2016

i
ABSTRACT

There is unprecedented interest in the construction and practice of gender in the
workplace. In men’s studies, transnational business as an institutional location is
recognized as important for understanding masculinities. On average, eighty per
cent of the creative personnel in transnational advertising agencies are men. At
the level of creative directors on average ninety percent are male. In this thesis I
provide an empirically based description of how three cohorts of male advertising
practitioners in Sydney, Delhi and Shanghai construct and practice a style of
creative masculinity that gives their identities legitimacy and authenticity. I contend
that creative masculinity is not hegemonic but is a form of maverick masculinity
indexed to creativity. My empirical research consists of ethnographic observation
in the M&C Saatchi (Sydney), McCann (Sydney), McCann (Delhi), Ogilvy
(Shanghai) advertising agencies and in-depth interviews with male advertising
creatives, and the women who work in the same agencies – the latter provide
alternative perspectives on male advertising creatives’ identities and practices. It
becomes clear that the creative department is a hierarchical ‘men’s club’ that
through masculine cultural capital sanctions masculine privilege whilst collapsing
traditional notions of class. My analysis identifies advertising as an always already
male gendered occupation that is an intensely aggressive and competitive
workplace where fluid power relations are used to define the rules of the game and
the importance of winning. There is a professional expectation for advertising
creatives to consistently produce authentic and award-winning work. This study
identifies the persistent and personal state of anxiety that accompanies male
advertising creatives as they seek acceptance for their work alongside the
conflicting experience of rejection. A close examination of the relationship
between creative labour and creative product reveals the importance of the
visible display of creative work and the public recognition and endorsement of it.
The five chapters, Manspace, Manbrand, Manpower, Manxiety and Manmade,
provide an in-depth analysis of advertising as an ‘obsession with brilliance’.

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TABLE OF CONTENTS

Declaration .......................................................................................................................... i
Abstract ............................................................................................................................... ii
Table of Contents .............................................................................................................. iii
List of Figures ...................................................................................................................... iv
List of Abbreviations ........................................................................................................... v
Acknowledgements ........................................................................................................ vii
Manplan - Introduction ..................................................................................................... 1
Manspace - A field of dreams ........................................................................................ 24
Manbrand - The self-management of creative masculinity ....................................... 60
Manpower - Dynamic power relations between creative, client and consumer ... 89
Manxiety - The creative worker and the working environment .............................. 123
Manmade - The importance of doing, being and being seen .............................. 161
Conclusions .................................................................................................................... 200
Appendix ....................................................................................................................... 204
Glossary of Terms ........................................................................................................... 211
Bibliography ................................................................................................................... 215
Notes .............................................................................................................................. 222

iii
LIST OF FIGURES

Manplan – Introduction
0.1 B&T, Leo Burnett, Sydney new creative hires. 9 November 2015.
0.2 The Hindustan Times, 15 January 2014. ‘A Powerful Wedding Affair.’
0.3 The marriage market in the People’s Park, Shanghai.

Chapter 1 – Manspace
1.1   Transnational advertising agency credos.
1.2   M&C Saatchi, Sydney composite showing the agency and location.
1.3   McCann, Delhi composite showing the agency and location.
1.4   Ogilvy, Shanghai composite showing the agency and location.
1.5   Diagram showing interconnected liminal spaces.
1.6   Panoptic view in M&C Saatchi, Sydney.

Chapter 2 – Manbrand
2.1 Heineken (UK) and Penguin Audio Books (India) posters.
2.2 China-Britain tourism campaign 2013-2014.

Chapter 3 – Manpower
3.1 Marilyn Monroe in Gentlemen Prefer Blondes 1953.
3.2 Portrait of J. Walter Thompson.

Chapter 4 – Manxiety
4.1 Displaying creative awards in Delhi and Shanghai.
4.2 Mao poem on Graham Fink’s office floor.
4.3 British Airways Face television commercial.

Chapter 5 – Manmade
5.1 Optus Australia-Netflix and Ricky Gervais, M&C Saatchi, Sydney.
5.2 Optus Clever Buoy, M&C Saatchi, Sydney.
5.3 ‘Happydent’, McCann, India.
5.4 ‘Cokehands’ poster, Ogilvy, Shanghai.
5.5 ‘Think small’, Volkswagen print advertisement, Doyle Dane Bernbach, NY.

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LIST OF ABBREVIATIONS

Advertising Agencies:
BBH Bartle Bogle Hegarty
CDP Collett Dickenson Pearce
DDB Doyle Dane Bernbach
JWT J. Walter Thompson
LEB Leo Burnett
McCD McCann, Delhi
McCS McCann, Sydney
M&CSS M&C Saatchi, Sydney
OGS Ogilvy, Shanghai

Advertising agency work titles:
AE Account Executive
ACD Account Director
ACDA Associate Creative Director – Art
ACDC Associate Creative Director - Copywriting
AD Art Director
BD Broadcast Director
C Copywriter
CCO Chief Creative Officer
CDA Creative Director – Art
CDC Creative Director – Copywriting
DCD Digital Creative Director
DE Digital Executive
DSP Director Strategy Planning
EA Executive Assistant
ECA Executive Creative Assistant
ECD Executive Creative Director
GC Global Chairman
GM General Manager
HOD Head of Knowledge
MP Managing Partner
v
PA Personal Assistant
PM Project Manager
PRE Public Relations Executive
RCD Regional Creative Director
SAD Senior Art Director
SAM Senior Account Manager
SBL Senior Brand Leader
SC Senior Copywriter
SP Strategy Planning
T Trainee
TRS Talent Resources Specialist
TVP Television Producer
VP Vice President

General abbreviations:
AWARD Australian Writers and Art Directors
D&AD Design and Art Direction (UK)
DCMS Department for Culture, Media and Sport (UK)
KPI Key Performance Indicator

vi
ACKNOWLEDGEMENTS

I acknowledge with respect the Gadigal people of the Eora nation who are the
traditional owners and custodians of the land where much of my study and writing
of this thesis took place.

My sincere thanks to my hosts who invited me to conduct my research in their
agencies. I was welcomed, supported and given complete freedom to meet their
people, observe and take part in their daily activities. Their generosity is greatly
appreciated. M&C Saatchi, Sydney: Tom McFarlane, Tom Dery, Ben Welsh and
Natalie Brady. McCann, Sydney: Nicole Gardner. McCann, Delhi: Prasoon Joshi,
Jitender Dabas and Kishore Chakraborti. Ogilvy, Shanghai: Graham Fink, Abel Xu
and Eno Jin. There would be no thesis without the contributions of my research
participants who gave of their time, their thoughts and opinions, creating a rich
body of material for me to work with and I hope the result is worthy of their
generosity and trust.

If it takes a village to raise a child, it takes a department to produce a PhD. I am
privileged to belong to the remarkable Department of Gender and Cultural Studies
that is an intellectual and social home to its students and staff and where academic
generosity is a cherished practice.

It has been a privilege to work with Professor Elspeth Probyn as my supervisor and I
am deeply grateful for her continued interest in my project and encouragement to
put both my head and my heart into my writing. Elspeth’s emotional support and
intellectual clarity pushed me to do things I would never have thought I could and
gave shape and purpose to my work. I also enjoyed the generosity and
encouragement of my co-supervisor, Dr. Prudence Black who always gave me time
when I needed it and guidance when I asked for it. I express my sincere thanks to
this wonderful supervisory team.

During my candidature I have been invited to present papers at seminars and
conferences; to be a tutor and deliver guest lectures. I have learnt from and
enjoyed the companionship of all and would like to mention in particular: Associate
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Professor Lee Wallace, Professor Meaghan Morris, Associate Professor Ruth Barcan,
Professor Catherine Driscoll, Dr. Jane Park, Dr. Jennifer Germon, Dr. Liam Grealy, Dr.
Nancy Lee, Dr. Jessica Kean, Alifa Bandali, Kate Johnston, Sara Tomkins, Bin Wang
and my study companion, Kerryn Drysdale. I thank Dr. Anna Hickey-Moody who
provided early guidance and direction for this project.

I express my gratitude to many friends and colleagues whose quiet encouragement
and support sustained my efforts along the way. Max Gosling, for introducing me to
McCann in Sydney and Delhi. Marylouise Caldwell, Paul Henry and Terry Beed for
ongoing interest and encouragement. Clif and Kat Evers who generously handed
over their delightful unit in Shanghai to a total stranger. Beverley Uther, friend and
patient IT advisor.

Finally, to my best beloveds, Margot and Polly. I would never have started down this
path if Margot had not shown the way first and she remains my inspiration and my
guide. Providing wisdom, calmness and a prod when needed, Margot has watched
and encouraged every step of this journey. Polly remained interested, curious and
supportive along the way. My best beloveds, thank you.

viii
MANPLAN
(INTRODUCTION)

On 9 November 2015, the Australian advertising trade magazine, B&T, ran the front
page feature headline: ‘Leo Burnett fires up creative department with five new
hires.’ A successful and long established transnational advertising agency with a
reputation for creativity, Leo Burnett was understandably keen to announce this
major investment in their Sydney-based creative resource. Each of the new ‘hires’
came with an impressive individual record of creative achievement and numerous
creative awards to prove it. The picture that accompanied the agency’s
announcement shows the two executive creative directors together with their five
new creative appointments in a contrived display of homosocial spontaneity. (See
Figure 0.1) Within hours a storm of local and international criticism from social media
rained down on Leo Burnett for perpetuating the stereotype that advertising
creatives are all-white and all-male.

Figure 0.1
Leo Burnett, Sydney announces ‘five new hires’ published in Broadcast & Television (B&T
Magazine), 9 November 2015. Permission granted by David Hovenden, Editor in Chief.

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