ABSTRACT
This chapter proposes a self-reflexive view vis-à-vis the Charles Wilp Collection at Deutsche Kinemathek, a collection dedicated to the work of one of Germany’s best-known (and most notorious) advertisers of the 1960s and 1970s. After critically reviewing the notion of institution as it is used in advertising research, the main part of the text provides a historical account of Wilp’s work and proposes a definition of screen advertising and an analytical heuristics for describing moving image advertisements.
