Editing Product placement (section)

===Origins===
[[File:Edouard Manet 004.jpg|thumb|upright=1.4|''[[A Bar at the Folies-Bergère]]'' by [[Édouard Manet]] may be an early example of product placement. The distinctive label and shape of two bottles allow them to be identified as [[Bass beer]]]]
Product placement began in the 19th century. By the time [[Jules Verne]] published the adventure novel ''[[Around the World in Eighty Days (novel)|Around the World in Eighty Days]]'' (1873), his fame had led transport and shipping companies to lobby to be mentioned in the story. Whether Verne was actually paid to do so remains unknown.<ref name="butcher">William Butcher (translation and introduction). ''Around the World in Eighty Days'', [[Oxford Worlds Classics]], 1995, Introduction.</ref> Similarly, a painting by Édouard Manet (1881–1882) shows a bar at the [[Folies Bergère]] with distinctive bottles placed at either end of the counter. The beer bottle is immediately recognisable as Bass beer. Manet's motivations for including branded products in his painting are unknown; it may be that it simply added to the work's authenticity, but on the other hand the artist may have received some payment in return for its inclusion.<ref>Lehu, J-M, ''Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business,'' Kogan Page, 2007, pp 18-19</ref>

Research reported by Jean-Marc Lehu (2007) suggests that films produced by [[Auguste and Louis Lumière]] in 1896 were made at the request of a representative of [[Lever Brothers]] in France. The films feature [[Sunlight (cleaning product)|Sunlight soap]], which may be the first recorded instance of paid product placement in film.<ref>Lehu, J-M, ''Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business,'' Kogan Page, 2007, pp 19-20</ref> This led to cinema becoming one of the earliest channels used for product placement.

[[File:Johanna Schaffgotsch liest Die Woche closeUp.jpg|thumb|upright=1.1|Self-advertising: A German countess holds a copy of the magazine ''[[Die Woche]]'' in her hands. The photo appeared in 1902 in an issue of the magazine. (detail of the actual photograph)]]

With the arrival of photo-rich periodicals in the late 19th century, publishers found ways of lifting their paper's reputation by placing an issue of the magazine in photographs of prominent people. For example, the German magazine ''[[Die Woche]]'' in 1902 printed an article about a countess in her castle where she, in one of the photographs, holds a copy of the magazine in her hands.<ref>''Die Woche'', issue 40, October 4, 1902, page 1874</ref>

Product placement was a common feature of many of the earliest [[Actuality film|actualities]] and cinematic attractions from the first ten years of cinema history.<ref>See especially Gurevitch, Leon. (2010). "The Cinemas of Transactions: The exchangeable currency of GC attractions across audiovisual" in ''Popular Narrative Media'', [[Liverpool University Press]], Liverpool, Vol. 2 (2), 143-158.</ref>

During the next four decades, the motion picture trade journal  ''[[Harrison's Reports]]'' frequently cited cases of on-screen brand-name placement.<ref>''[[Harrison's Reports and Film Reviews]]''. Volume 1, page iii.</ref> [[P. S. Harrison|Harrison]] condemned the practice as harmful to movie theatres, and his editorials reflected his hostility towards product placement in films. ''Harrison's Reports'' published its first denunciation of that practice over Red Crown gasoline's appearance in ''[[The Garage (1920 film)|The Garage]]'' (1920).<ref>''[[Harrison's Reports]]''. January 17, 1920, page 9.</ref> Another editorial criticised the collaboration between the [[Corona Typewriter]] company and [[First National Pictures]] when a Corona typewriter appeared in several films in the mid-1920s including ''[[The Lost World (1925 film)|The Lost World]]'' (1925).<ref>''[[Harrison's Reports]]''. September 12, 1925, page 148.</ref>

Recognisable brand names appeared in movies from cinema's earliest history. Before films had narrative form in the current sense, industrial concerns financed the making of what film scholar Tom Gunning described as "cinematic attractions",<ref>For more detail on the Cinemas of Attractions see Tom Gunning's work: "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde"; in ''Early Film'' ed. Thomas Elsaesser and Adam Barker ([[British Film Institute]], 1989)</ref> short films of one or two minutes. In the first decade or so of film (1895–1907) audiences attended films as "fairground attractions" interesting for their then-amazing visual effects. This format was better suited to product placement than narrative cinema. Leon Gurevitch argued that early cinematic attractions have more in common with television advertisements in the 1950s than they do with traditional films.<ref>See Gurevitch, Leon (2010) "The Cinemas of Transactions: The Exchangeable Currency of CG Attractions", ''Journal of Television and New Media'', [[SAGE Publications]], New York, 11 (5), 367-385</ref> Gurevitch suggested that as a result, the relationship between cinema and advertising is intertwined, suggesting that cinema was in part the result of advertising and the economic benefits that it provided early filmmakers.<ref name="Gurevitch, L. 2009">Gurevitch, L. (2009). "Problematic Dichotomies: Narrative and Spectacle in Film and Advertising Scholarship", ''Journal of Popular Narrative Media'', Liverpool University Press, Liverpool, Vol. 2 (2), 143-158.</ref> Segrave detailed the industries that were advertised in these early films.<ref>Kerry Segrave. ''Product Placement in Hollywood Films: A History''. [[McFarland & Company|McFarland]], 2004.</ref>