What Do U Do If Your Dog Has A Big Wart

5.1 Conclusions 5.0 "From television to Computer Animation"

Pattern Rai, 1986

For some twenty years, from 1954 until 1976, year of arrival of color, in Italy we have seen in strictly black and white programs. Besides the increase in broadcasting hours and maybe a more widespread admissibility, there were no major changes other than a very important structural change: in 1962 rose a second TV channel.
Until 1976 then there was another change. With the official arrival of color television in Italy changed many things.
Between the end of the seventies and eighties in all consumption becomes the representation of a different social reality, in which the collector is free to use language, style and, inevitably becomes more pervasive. From the point Economically, the advertising becomes the mechanism of support for the economy, able to move the whole system: the more crowded the system and have to sell more spaces and more spaces need to sell more short and repetitive will be communicated.

In this sense, change the very way of conceiving the ad: to be able to offset the disatrazione will try to replace the long lead times, belonged to the old carousel, with a time of 60 ", 30" and then finally a 15 "or sometimes even 7", so that consumer will be inattentive captured by the pervasiveness of advertising messages. Advertising
the theater to the rhythm of the Tarantella so therefore leave room for the Telecommunication, and the "spot", focusing the discussion on "break", increasingly repetitive and short.
Another peculiarity concerns the advertising formula: "Carousel" was inserted and scanned by the organization of palinsensi and programs, on the contrary the "spot" will trap and marked the time of planning and organization of schedules. Advertising by a marginal economy really becomes essential, even for state television.
their audiance is born televisiova when it comes to advertising the advertiser.
Already since the early seventies were born the first commercial networks but only distributed locally. Since 1980, Channel 5 was founded by entrepreneur Silvio Berlusconi, and this was the first private television network considered a valid alternative to the only distribution of advertising to the public network, Rai.

In a short time in advertising investment by Italian companies increased dramatically exploded in 1983 where for the first time the advertising was beaten Sipra Pubblitalia of the licensee's private Canale 5.
Before the arrival of color television in Italy (1976) was the monopoly of television production, it was therefore impossible to buy programs in color from the larger foreign suppliers.
Immediately after 1976 the major supplier of programs (American, British and South American) who had several years to recoup the costs of production at home, they sold low-cost programs in Europe, and Italy also found herself attending the markets international.
In this economic whirlwind publicity he found himself at the center of big changes. "Carousel" had lived its period of success: the Italians had been able to access between a sketch and the other in the world of consumption, and artists and authors who had worked behind the scenes at the theater, had been able to grow professionally. The Eighties they leave behind "Carousel," half of advertising is now considered obsolete, and in its place the advertisement is enclosed in "Area F", which tightened the rules with shorter Sipra give way to the emergence of marketing .
times were officially reduced from 60 "initials, the commercials were to be summarized in standardized time of 30", 15 "and 7". Introducing "the Auditel" (data collection of TV viewing), the means by which not only can you check the index of rating but knowing precisely the success or failure of programming. Advertising has changed radically in style, both in the design and production of the posts are called foreign directors and directors of photography, sopprattutto from 'America and England', which soon will replace the good nature and affection of all reported ' Italian, with new standards and aesthetics, and the use and consumption, will be increasingly based on the sophistication of the product and its image.

Nescafe Coffee Hag 1967 and 1957. Advertisements compared promote the same type of product. In the case of the work of Alexandre Nescafe Alexeieff creates an interesting fusion between art and advertising with an advertisement quite original.

What happens to our souls?
the second half of the seventies, Rai decided to adapt and play on imported products, to meet competition from private broadcasters. Italian television so in a few years became the largest importer of foreign fiction, and the arrival of Japanese cartoons in our country, decreed the end of an animation production national. Few spaces left in our creative.
The animation in this new Italian television undergoes a sharp setback at the end of the seventies there are, in the annual schedule, at least 4000 hours of entertainment of which 97% of Japanese and Korean co-production. Not only is the television advertising does not convey more animated, but the national product is massively replaced by the acquisition of imported products: sopprattutto are Japanese animated series that, by setting up strongly in the schedules Italians tend to be better with the infinite interplanetary wars and martial arts. An example is the emergence in May the 1978 series "Atlas Ufo Robot".

Japanese anime series by Go Nagai, 1975 broadcast on RAI in Italy since 1978, as two private networks.

The emergence of color television also began to slowly replace the shades of black and white in Italian homes. This important step will be felt primarily as a radical change of languages, national advertising and animation, will be destined to disappear, unfortunately without being able to exploit the potential of color. The lack of work in the area will appoint the closure of many studies and others that must reinvent itself and keep pace with the times to avoid being cut off. The cinema advertising, which previously had been able to maintain its own space, although less than television, it stops being produced and broadcast: television, host uncontested, it becomes the only way (along with newspapers, magazines and posters) to mid-nineties, which carries advertising. The animation in the late seventies to mid nineties is little spread, much less the development of animation production and advertising, the creative work of our focuses in some television themes: one is an example created by Bruno Bozzetto for transmission "Portobello" of 1977 and 1987. Even without advertising the cartoon continues to be produced and self prordotto, and range from film by Bruno Bozzetto, but the real work moves in the Eighties to the production of jingles, documentaries and industrial films and institutional always rigorosomante vero.A Milan and from the animation department when Cinelandia (Gamma Film SpA, which had opened and expanded its headquarters in 1964 in Cologno Monzese), closed in 1979 and was sold to television Silvio Berlusconi.Nello same year Gavioli offers some of the most talented designers to join a cooperative in the "ERREDI 70" by engaging in production of the cartoon, the movie advertising, and production of documentaries. Bruno Bozzetto keeps on producing advertising campaigns fully animated: in 1978, arriving on television the two characters "Ciocorì and whiteness for Mott, the" Penguins Saila "in the same year and in 1988 to life with remarkable men of Kellogg's.

"Ciocorì and whiteness" by Bruno Bozzetto

important were the contributions of the RDA 70, which in recent years created the spot of the tarts " mill White "(drawings by the illustrator Grace Nidasio) and Alisa Candy's campaign based on the designs of Free Gozzini, where the clothes they dance is accompanied by the slogan" Candy knows how to do it. "

"Candy Alisa" designs Free Gozzini

Advertising was certainly a way for our designers to work with their passion and, meanwhile, have the opportunity to grow economically and artsisticamente.

Times have changed. Compared to advertising than twenty years, where the rigor of the questions of ethics and morality and had developed advertising genius like that of "Falqui. Just the word" advertising years Ottantadiventa less "prohibitive" Riccardo Denti displays use in animated form the silhouette of an African American to advertise liquorice "Taboo" (1982), associating the color of candy color of the latter waving two big hands to music white.

Advertising Taboo

In times not far distant, this type of advertising was immediately criticized by Sipra because it was deemed offensive and discriminatory.

born in 1982 "One Italy" and "Retequattro," Ruskin and the publisher Mondadori Group subsequently bought by Silvio Berlusconi in two years.
The enormous development of the Italian television system in the form changed with the arrival of commercial channels and, this time determined the increased investment in advertising.
Disclosure of the eighties and then slowly reached an international level of maturity of communication are good creativity and effectiveness: in our country were successful series of commercials, where the use of a product or a famous brand itself as status social symbol (they are examples only Levi's, Absolut Vodka, Coca Cola, Nike, Chanel). It therefore comes to the nineties, where the creation of more commercial TV (such as Telemontecarlo and Videomisic bought by Vittorio Cecchi Gori in 1992) brings the increase and the repetitiveness of advertising: on the one hand, the agencies raise the level of communication effectiveness of the products advertised on the other side of the screen advertising is a demanding consumer and unfaithful ready to "zapping" from one network to another. Advertising on television is so constantly present, moving not only from animation production from the truth, but the messages, conforming to the model international, are faster, innovative (even technologically speaking) and more sophisticated, suitable for the consumer era of new technologies.

Kodak Advertisement, 1987

Notes:

1. "A surprise box. The range of films Roberto Gavioli and audiovisual communication in Italy from carousel today. Presentation by Sergio Zavoli" Editoriale Jaca Book Spa, Milan, 1998.
2. "The factory of the animation. Bruno Bozzetto in the Italian culture, edited of Giannalberto Bendazzi and Raffaele De Berti, Editrice "Beaver" Srl, Milan, 2003.

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4.1 "Italy can different"

Carousel "was much more than simple advertising, has accopagnato the peninsula to" hand "in the mechanisms of consumerism, and this was transposition of the spectacular change in Italian society from a simple rural society to industrial society in all respects.
In August 1976, a brief statement announcing the closure of the Rai:
"We inform you that, from the beginning of 1977, the Categories of TV advertising, "Carousel" and "Intermezzo" (airing on the network, respectively, 1 and 2) are lifted. They will be replaced by another item common to both television advertising. "(1)" The
January 1, 1977 the "Year of Superspettacolo with Raffaella Carra." Carrie touches healthy forever, "Carousel" with a glass of brandy famous, rather than of champagne, became part of everyday life of Italians slogan "Stock Brandy, brandy, which creates the atmosphere."
" Here we are in 1977: a closed loop. Twenty years of Caroselli Stock. And it is in the name of Stocks thank all those who made them and you who follow us for many other years. Merry 1977!. "(2.)
So, forever," Carousel "ending his theater. Were now distant time when the evening meeting held Italians glued to the TV, waiting, anticipating the moment of silence and the symbol entr'actes.
Carousel dies after twenty long years. The times were changed now, as Italy had changed and it's hard to blame a cause rather than to another. Carousel was born in the period of economic boom and social "and had participated in social evolution taught Italians to consumers and businesses to communicate as he explains Edmondo Berselli, when supply and demand coincided perfectly.
The causes of the end of "Carousel" are different, in part traceable to the Italian political and social transformation that was witnessing the end of the seventies, and then within our country, and anyway it was heading towards an internalization and standardiddazione economic and cultural pace with other countries. One last
username "Caroselli" that identify well the average Italian in the late seventies and advertising of "insatiable", where not only the Italian citizen no longer content with the sole product, but is informed competent, knows the products and has become demanding in his choice within an increasingly further expansion.
So the Italian consumer is no longer a shy and unsure of itself that needs to be educated and guided to choose the best.
With the consumer needs change, products and changed the way we do, and then publicly pubblictà tv: more commercial, less education, to promote TV shows and full of entertainment, as defined by Piero Dorfles (3.) "The TV of the seventies is a place where every day is a holiday. " Advertise
through the "carousel" what had become insufficient and limited, and primarily the costs of production, including also the cachet that had soared to the stars, and secondly the time they were attacked. To publicly pubblictà was decided by the big American agencies especially that 30 "was needed to advertise a product. Let's say you just around the corner of the eighties" Carousel ", the first channel, and" Intermezzo "on the second channel, and advances represented the only areas of advertising, c 'was in need of change.
A month after the end of Carousel, in February 1977, Rai began to broadcast in color, which brought a renewal not only technological, but cultural sopprattutto: Stop with the carousel in black and white , now considered antiquated that had accompanied the television from its inception with a serious tone and a social climate and resigned, the new television established itself with new expressive possibilities. These reflect a more realistic and vivid reality, which together with psychological meaning, prosperity and abundance, embodying the world of consumption. A first
responsible for killing "Carousel" was the Italian Association of Advertising:
had developed a growing demand from companies for failure to support the high production costs, considered it their right to have access to advertising television. The end of "Carousel" has in fact allowed access to television advertising also smaller companies, this long overdue addition to dagl'inserzionisti also by advertisers.
Another reason, of not only the internal character Rai but also to the policy that is going to draw in Italy, was clearly expressed at the opportunity like a bifurcation of public broadcasting, which changed the way of approach and watch television.
Television was founded by the government with the role of pedagogy, but at a distance of twenty years, the city had learned to eat, but sopprattutto to choose. That's why it was necessary also a distortion of the schedules.
The first channel could no longer be the only reference channel. Social life had changed, and the people who stay up late, wanted to choose other forms of entertainment.
It was therefore decided that the broadcasts began at 12.30: in both channels were added new programming time zones who are experiencing significant plays from the start as late at night, as the broadcast ended at midnight, but the range of programming afternoon and lunchtime.
Another critical step that brought a renewal in the Italian television was the liberalization of private broadcasters.
In 1976 the Constitutional Court decreed the liberalization of private broadcasters in the local area: the Italian Parliament launched the rules for authorizing the first segment of the television broadcasts not only RAI state.
From initial idea to sell to a television audience measured in quality dagl'indici of choice, the idea of \u200b\u200bselling a quantity of television, the number of listeners or sold to advertisers. So the television changes from a state monopoly to a market condition in which in exchange for a successful transmission of the viewers receive a massive dose of publicity, higher than that proposed in just ten minutes.
short, if "Carousel" before ending had been sharply criticized by intellectuals and opinion leaders believed that a subtle tool of consumerism, ironically, with its disappearance in the eighties will see the exponential growth of television advertising.

Notes:

1. "A surprise box. The range of films Roberto Gavioli and audiovisual communication in Italy from carousel today. Presentation by Sergio Zavoli ', p. 196, Editoriale Jaca Book Spa, Milan, 1998.
2. "Carousel" by Piero Dorfles pag.105, Editrice "Il Mulino, Bologna, 1998.
3. "Carousel" by Piero Dorfles pag.111, Editrice "Il Mulino, Bologna, 1998.