1949
Advertising "assemblages" after 1943
  System/configuration of representations (P5)
    Page landscapes
    Copy models
      Shorter texts (excepted for propaganda/charity announcements)
      More efficient titles or slogans
      Realistic images of the package/product
      Alternance between abstract and figurative illustrations
      Stronger ornemental borders
      Creative play on typography
      Creative play on contrasts
      Play on layout and image movement
    Discursive styles
      Residual hyperbolic style
        Superlative tone
        Brand names
      Still prominent rational style
        Brief description of the product qualities
      Decline of emotional style
        Less appealing illustrations
          Decline of sexy women figures
          Decline of cute children and ideal family scenes
          Figures of businessmen and office employees
        Continuous appeal to the senses and emotions
          Rich and refined lexical field related to vision, taste and touch
          Alternance between positive (joy, happiness) and negative (fear, pain) emotions
        Residual comical style
          Humoristic figures
          Comic-strip devices
    Appeals
      Health
      Taste
      Sex/Beauty
      Child/Youth
      Happiness
      Safety
      War/Charity
  System/configuration of actors (P3, P4)
    Advertising agents/professionals
    Advertised goods/services
      Business sectors
        Types of products/services
          Brands
    Advertisers/Manufacturing companies
    Consumers/Markets
  System/configuration of mediums (P1, P2, P3, P6)
    Outdoor/3D advertising
    Indoor/2D/printed advertising