Book contents
- Frontmatter
- Frontmatter
- Acknowledgements
- Introduction
- I Waiting for The Consumer Society
- II Economies of Consumption (1)
- III Small Shops
- IV Big Stores
- V Economies of Consumption (2)
- VI Reflections on The Consumer Society
- 13 Post-war Visions of Paradise: The Dawning of the Consumer Society
- 14 Managing the Consumers (1): Motivational Analysts
- 15 Managing the Consumers (2): Advertisers
- 16 The Consumers Managing 1: Making Do by Instalments
- 17 The Consumers Managing 2: Making Do and Producing
- Conclusion: A Good Buy?
- Bibliography
- Index
15 - Managing the Consumers (2): Advertisers
from VI - Reflections on The Consumer Society
- Frontmatter
- Frontmatter
- Acknowledgements
- Introduction
- I Waiting for The Consumer Society
- II Economies of Consumption (1)
- III Small Shops
- IV Big Stores
- V Economies of Consumption (2)
- VI Reflections on The Consumer Society
- 13 Post-war Visions of Paradise: The Dawning of the Consumer Society
- 14 Managing the Consumers (1): Motivational Analysts
- 15 Managing the Consumers (2): Advertisers
- 16 The Consumers Managing 1: Making Do by Instalments
- 17 The Consumers Managing 2: Making Do and Producing
- Conclusion: A Good Buy?
- Bibliography
- Index
Summary
Published in 1965, Simone de Beauvoir's Les Belles Images is marked like Les Choses and Les Géants by a certain mentality that arose as the post-war French economic ‘miracle’ transformed social structures, customer expectations and individual perceptions. The main character, Laurence, works in an advertising agency, and, among her family and acquaintances, in a social milieu populated by industrialists, architects, broadcasters and lawyers, there prevails an optimistic view about the prospects of humanity at large in a world where science and technology are working to enhance the quality of life. The books that Laurence's husband Jean-Charles reads all have the same message: ‘tout va beaucoup mieux qu'avant, tout ira mieux plus tard’; before long all will be living in ‘la civilisation de l'abondance et des loisirs’ (72). Thus, the ‘beautiful images’ of the novel's title, while they are the stuff of Laurence's professional activity as she works to make merchandise attractive to potential customers, also signify the vision of a privileged elite for whom all is well with the world and the future promises to be even brighter.
Laurence works in the same sector as Jérôme and Sylvie in Les Choses, but in a milieu that has matured somewhat beyond Perec's portrayal of it. Laurence is further up the agency hierarchy than Perec's characters, being a copy writer, and her colleagues include Lucien, ‘le meilleur motivationniste de la maison’ (27), an expert in the motivational research whose impact on French marketing circles we have noted previously. Laurence draws on the fruits of Lucien's ‘depth analyses’ when planning her campaigns and composing her slogans. However, she is not overly impressed by the associations that motivational studies suggest that buyers unconsciously wish to have linked to a product:
elle ouvre le dossier. C'est fastidieux, c'est même déprimant. […] Est–ce que tous les goûts peuvent s'expliquer par des fantasmes aussi rudimentaires? Ou les consommateurs interrogés sont–ils spécialement attardés? Peu probable. Ils font un travail ingrat ces psychologues: d'innombrables questionnaires, des raffinements, des ruses, et on retombe toujours sur les mêmes réponses. (41–42)
While struck therefore by the banality of the material on which the advertiser has to work – the questionnaires harvest only the lowest common denominator of responses – Laurence recognises nonetheless that she is dealing with elements of fundamental significance.
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- Information
- Consumer ChroniclesCultures of Consumption in Modern French Literature, pp. 256 - 265Publisher: Liverpool University PressPrint publication year: 2011