By Sabine Vanacker, Catherine Wynne
Sherlock Holmes gripped the general public mind's eye within the Eighteen Nineties after Arthur Conan Doyle's tales have been serialized in The Strand Magazine. The sleuth's attraction, even if, extends way past the parameters of his fictional time. Sherlock Holmes is an iconic determine who has, over the process the 20th and twenty-first century, been immortalized in literary and picture variations. Doyle himself more and more appears to be like as a fictional determine in modern novels and movies that frequently confuse the bounds among the historic and the fictitious.
This publication explores and celebrates this carrying on with cultural phenomenon. either Holmes and Doyle interact the dominant questions in their time in addition to ours – of order and chaos, balance and instability, materialism and spirituality. As validated by means of the re-imagining of Holmes via each one successive new release, and the newer fictionalisation of Doyle, those figures proceed to at the same time form and disturb our tradition and awareness.
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Additional resources for Sherlock Holmes and Conan Doyle: Multi-Media Afterlives
Example text
Examining how he is promoted in his own country highlights the place he occupies in British popular consciousness (Lejeune, 1991 : 155). David Ogilvy, founder of the Ogilvy & Mather advertising agency, defines a brand as being: a complex symbol. It is the intangible sum of a product’s attributes, its name, packaging, and price, its history, reputation and the way it is advertised. A brand is also defined by consumers’ impressions of the people who use it, as well as their own experience. (Roman, 2004) If Holmes can be said to be a brand, then – just like a product – it is made up of a combination of all these elements.
He represents, as Stephen Knight defines it, ‘a bridge between the disorderly experience of life and a dream of order’ (1976: 105) and that is why advertisers have returned to him again and again to endorse their products. 34 Amanda J. Field Advertising aims to create, and tap into, consumer aspirations, so selecting a figure who already represents an aspirational model for a wide cross-section of consumers provides a short-cut to the alignment between the product and its perceived qualities. Even in the ‘common sense’ advertisements of the 1970s and 1980s, though the copy might imply that good judgements can be made by the consumer without recourse to Holmes, his very presence indicates that he is still a necessary ‘yardstick’ by which to make decisions.
Thus there is a link between what is denoted by the image of Holmes and what is connoted, a connection which Roland Barthes calls a ‘code’. This is, as Sut Jhally explains, ‘the store of experience upon which both the advertiser and audience draw in their participation in the construction of commodity meaning’ ( 1990 : 3). In Holmes’s case, this ‘store of experience’ may come from multiple sources, given the character’s transmedia presence: the consumer may know him through Doyle’s stories, radio, TV, cinema Sherlock Holmes in Advertising 21 or stage productions, pastiche novels, comic-strips, or through any of the other media which have appropriated the detective since his first appearance.
