Tony Kaye

In what way does Gibbons define Kaye as a post-modern Creative?
He talks about the way he can more between jobs easily, and he is also a key figure for his creative work in the way he show fluidity between displines.

In what way does Kaye fit the Romantic Rebel?
 He claims art as pure activity, which art in this case is the feeling and imagination which is at stake, as opposed to the notion of the comercial applied artist who practises a somehow 'lesser art'. In this case he embodies the notion of the Romantic rebel in his approaches to both art and to advertising kicking in each case against institutional forces and producing work that engages the feeling and subjectivity of the viewer.


How does Nick Studzinski, Creative director of Publicis decribe how Kayes approach fits into the (Romanti) notion of (Creativity)?
Nick describes Kaye as a premier example of a create able to operate in the more self-directed manner of the Romantic tradition. As he given a much freer hand at developing the concept visuals. While Kaye considers his advertising work to be compromised in its creativity he has frequently been able to operate in advertising with the sort of autonomy that a fine artist might expect in a production of supposedly more interested works.

Gibbons points to 1999 Ad Vauxhall Astra (Lowe & Partners) as an example of a rare type of advertising, again how does his advertising work have similarities to the Romantic paradigm?
In this advert when mimicking a union gathering, the babies make demand for better conditions. In the interests of authenticity, Kaye insists on the actual presence of 800 babies, having trenches built for parents/nannies to hold the babies in place. Consequently, he is able to produce a rare type of advertising that clearly draws creativity from individual vision and from the ability to activate the imagination of the viewer in a way that has on notable occasions invoked, the grander narratives of our culture rather than the everyday concerns of consumerism.

List the way in which Kaye uses Romantic devices in his Dunlop TV commercial (1994) Unexpected?
The whole sequence is characterised by a sensual overload in which the visuals are accompanied by quasi-hipnoic and equally sensual soundtrack and adds significantly to the strangeness and somewhat forbidden nature of the visual imagery,  in the transgressive nature of the song Venus in furs by the Velvet Underground. His intention was to change his ads from the run of the mill conventions of tyre advertisements and in doing this he has created a fantastic world peopled with hybrid characters, reminiscent to a carnival or masquerade. The strange and elaborate feel of the commercial is partly created by the setting, a landscape made unreal by the use of artificial colour laid over black and white footage and by the wealth and sensuality of texture and materials. All these elements sound very artistic and fitting to the Romantic Paradigm. However, this is part of a more complex cluster of signification. For example, there is a sense of decadence in the styling of the make-up and costume and there is also a lurking threat of devastation or destruction within the overall opulence, suggested by glimpses if dead vegetation and sporadically erupting flames. This effect is achieved through dramatic contrasts what is present much throughout Kaye's work.

Kaye evokes feelings of melancholy in advert Twister and creates what Roland Barthes calls a punctum- explain this effect and how it would lead to a successful advertisement?