This paper presents the intertextual structure of an advertisement narrative, which, with the appearance of the Macintosh, is considered as a cultural phenomenon and an aesthetic determinant of the twentieth century that still defines modern culture. The Apple advertisement for the Macintosh “1984”, directed by Ridley Scott and prompted by the rigid discourse of the PC market of the time, refers to the Orwell’s fiction classic of the same title. In addition to verbal intertextuality, the advertisement also includes visual references that will be considered in this paper. The narrative technique of this one-minute video clip activates the paradigms of spatial coherence and subversions that are associated with utopian and dystopian constructs, thus successfully managing the space and the moment when the Macintosh emerged on the market. A system of uniqueness that is fully oriented to the production of customized consumers in order to gain profit implies creation of a commercial space in which social relationship between the individual and the perceived is established through use and consumption of electronic products and services. This new form of comfort reveals itself as a form of commodity fetishism, which, as a reference to Marx, would be another level of verbal intertextuality. From a collection of technological parts and raw materials, the Macintosh has changed into a “fantastic form” where physical properties express social behaviour. In this way, the commodity expresses something other than the mere sum of its raw materials or labour required for its production. With this innovative marketing approach, through the idea of liberation, information discourse is transformed. The world of numerous and diverse information is opposed to totalitarian regimes – consumer experiences and the power of information will be the force that rules the world. By presenting such an innovative marketing strategy with an emphasis on narrative practices, a new paradigm of commodification was established through the concept of individuality and rebellion against a totalitarian regime.


The paper interprets the impact of the digital culture on society as a whole, with special focus on consumer society and a number of modern marketing strategies. The introduction presents some predictions regarding the development of new technologies in the forthcoming decades, and points to certain past inventions that directly or indirectly influenced the emergence and development of modern technologies and media. From the explanation of communication paradigm the authors proceed to the explanation of the changes in the information distribution and knowledge constitution.They also define the concept of digital culture and its development which, for its part, is parallel to the development of new technologies and media. Their explanation of consumerism as an almost omnipresent concept in everyday life underlines the important impact this trend has for the cultural habitat, for the democratization and assessibility of cultural contents it brings about go hand in hand with their inevitable pluralization and trivilization. In the concluding part of the paper the authors discuss a relatively new technology of QR codes, its emergnce and scope, its advantages and disadvantages. Its free use is highlighted as the most favourable for the further development of new marketing strategies. A description of some projects in this context facilitate the authors to provide for a more detailed explanation of the QR codes links with modern marketing.


The audience is the main reason for creating spectacles and art events. The audience is its integral part. One of the biggest problems for marketers is that there is not such a big interest in cultural products and events. Besides, the fact is that one cultural need can always be replaced by another. In theory, if you manage properly, you will have a regular visitor instead of a part time customer. Unfortunately, it is much easier said than done.