born rules written under the "Criteria for additional radio and television commercials advertising code of loyalty." Until now the rules coincided with the internal rules borrowed from countries like England and France, where preventive and control required was expressly required by law.
Born from an experiment by advertising executives wanted to allow RAI to broadcast the advertisement on television, "Carousel" was packaged and amended from time to time to work as an extraordinary gem, and for those who tried to make a similar, especially in other European countries or even in America, it was not possible and there was no culture to be able to run a program to perfection-only advertising for twenty long years.
iteratività and serial episodes, formulas and characters that from time to time were made to the public through a continuous mixing of genres of popular culture that is so well grounded in our country (movies, theater), will be a feature and a peculiarity of "Carousel."
But first I would consider some data the heavy costs of the theater. In 1955, Rai
society creates for the control and the development of television advertising, Sacis, which is located in Via degli Scialoja 23 in Rome, came as a body which regulates a serious defense of morality.
leaders Rai initially imposed the cost of any advertising Clips were shown of 1 million 500 thousand dollars.
initially had some hesitation but in a short time given the increased demand, they ended up raising the cost of each ad to 2 million round. This meant that every day
Rai collected 8 million pounds with "Carousel", plus those obtained through the small spaces as "Tic-Tac" and "Gong" which appeared in television only since 1959.
The unexpected success of the transmission made the most skeptical and pale with the passage of time from 2 million pounds from about 1960, he arrived in 1966 to 3 million and seven hundred thousand pounds. If only the initially exceed the cost of radio advertising to television, only in 1958 or when "Carousel" performed a year, revenue from television advertising touched the sixteen and a half billion pounds as against only twelve of the radio and think that would be soon increased thanks to small spaces created to give the opportunity for advertisers, more and more, to advertise products.
Between 1959 and 1975 came to the aid of "Carousel" "Doremi" "Break," "Break 2" in the second channel, and then "Gong", "Tic Tac", "Rainbow," "Intermezzo," "Break" and "Information".
Every transmission of "Carousel" was composed of four episodes (carousel), which in 1961 became five, given the growing demand. Each episode lasted 2 minutes and 15 "in one minute and forty second was to develop the story which could not make mention of the product, everything happened in the last thirty seconds, defined as the time of the" tail ", where the product was introduced (brand , aspect of packaging, price, etc. ..) and accompanied by the jingle. Sometimes could happen that in the face of advertising was presented the episode directly from the brand (a example: "Chorodont presents: ..."). The provisions of
Sacis were clear: the advertising that aired the evening could not be resubmitted after a week or ten days, also in the same "Carousel" could neither two products appear to belong to the same industry sector (detergents, washing machines, etc..) nor of course the repetition of a single episode. This strict regulation contributed to the massive production of carousels that Taurelli Caesar as he said: "Just think Cheil time projection of the carousel products equivalent to the projection of the spectacular 1423 film. And I say little? "(1.)
" Carousel " presents itself as ultimately as a true anomaly of advertising ever in the history of Italian television plays count peaks so high, and the curious thing is that they were concentrated in those ten minutes of advertising alone. As Umberto Eco says: "Ultimately (Carousel) has produced one of those situations are sufficiently rare in the history of consumer society to the public, rather than suffer, wishes and needs publicity. "(2.)
Advertising Falque with Tino Scotti aired from 1957 to 1964
censorship with its rules could ensure a large advertising production, but there have been anecdotes of creative people that in order to be able to circumvent these rules are sbizzarrizi with brilliant creations:
Marcello Marchesi and Falque
"Just the word" (with vat Falque Scott, 1958 - 73), leads to the times in which the eye's complaint Sacis without a written set of rules (which were introduced only in 1975) left no room to say the word "laxative" difficulties which resulted in a stroke of genius. "(3 .)
"Men of Sacis, control officers, read books on psychology and advertising to guard against compromising scenarios imposed by the agencies, which, in most cases, contained hidden and mysterious advances on the product before the tail. Not only did some advertising as we despair of the Paulista Sinopoli with that said, "Come forward Gargiullo ... that'll break your ear!" or "Don Ortega ... you will die in a saw!" or even "But here you see a cactus." As the protesters Sacis, always possible that there are cactus? Yes, in South America there are more trees to cactus ... "(4.)
Bozzetto and the Cossack
" It happened to me even having to change the ending to a series of cartoon to Perugia, where the Cossack pay to have eaten the sweets Don went on vacation to Hawaii. Mine was an impossible dream: it was not allowed to tell you about a Russian who was going to have a good time in a U.S. state. "(5.)
Notes:
1. "The best of 1957-1977 Carousel" by Guia Cross Taurelli Caesar, "some page numbers. 156", Giulio Einaudi editore spa, Torino 2008.
2. "Carousel" the Italian identity of Piero Dorfles, publishing house "Il Mulino", p.39, Bologna 1998.
3. "Dreams. The dreams of the Italians in 50 years of TV advertising" by Giovanni Canova, pag300, publisher Bruno Mondadori, the Triennale di Milano 2004.
4. "Dreams. The dreams of the Italians in 50 years of TV advertising" by Giovanni Canova, pag300,
Bruno Mondadori publishing house, the Triennale di Milano 2004.
5. "Dreams. The dreams of the Italians in 50 years of TV advertising" by Giovanni Canova, pag299,
Bruno Mondadori publishing house, the Triennale di Milano 2004.
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