About the Journal

Focus and Scope

Questiones Publicitarias is an international (especially Ibero-American) journal whose purpose is to publish scientific research on communication and advertising. Its thematic coverage fits the issues related to the area of knowledge of audiovisual communication and advertising. The target audience is the academics, researchers and professionals in that area.
Accepted languages for the contributions are Catalan, Spanish, Portuguese and English.

Peer Review Process

For double blind review we establish as a general criterion to enhance the quotation of papers that break the biases of quotation patterns. In this sense, we want to overcome the hegemony of the English language, the geographical origin of the articles (United States and Anglo-Saxon areas) and the centrality of the recurring themes in audio-visual communication and advertising. Therefore, the profile of reviewers is as broad as possible and aims at covering, as far as possible, broad prospects for evaluation in the sense mentioned above. In any case, they will be skilled in the art or the methodology that is developed in the paper. And will be chosen among experts on the matter addressed in papers both from academia and private, national and international.

Publication Frequency

Two issues will be published each year, in January and July. However, to reduce authors' waiting times and facilitate articles citation will be published under the category "in press" as soon as possible when reviewing and editing process will be completed. Although two calls for papers are made each year in July and January, is possible to submit contributions throughout the year.

Open Access Policy

This journal provides immediate free access to its contents under the principle that making research freely available to the public supports a greater global exchange of knowledge.

This is an open access journal which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, distribute, print, reproduce parts, search or make a link to the full texts of the articles in this journal without asking prior permission from the editor or the author. It's licensed under a Creative Commons Attribution 4.0 Unported License.

Statement on publication ethics and misconduct

The Universitat Autònoma de Barcelona (UAB) is fully committed to promoting ethical conduct in the publication of its science journals, based on the principles laid down by the Committee on Publication Ethics (COPE) in the Code of Conduct and Best Practice Guidelines for Journal Editors (http://publicationethics.org).

To achieve this, the UAB considers it essential for all parties involved in the publishing process for its science journals – editors, reviewers, and authors – to know and accept the terms of the above code, as summarised below.

Publishers
Publishers should undertake to do the following:
• clearly establish the relationship between publishers, editors and other parties through a contract;
• promote editorial independence;
• respect privacy;
• protect intellectual property;
• maintain the integrity of published content;
• publish content punctually.

Editors

• Decisions on publishing papers. After consulting the editorial board, journal editors decide whether or not to publish the papers submitted to their department, basing their decision on the reports made by two external reviewers and, in the case of significant disagreement between these, a third reviewer. They should apply the same criteria for accepting or rejecting all papers in accordance with their originality, importance and clarity. Editors must have systems in place for editorial decisions to be appealed against before the editorial board. They must also give full, up-to-date guidelines on authors' responsibilities and on the characteristics of papers sent to the journal.
• Non-discrimination. When examining submitted papers, editors should not take into account the authors' race, gender, sexual orientation, religion, ethnic origin, country of origin, citizenship or political views.
• Confidentiality. Editors and other journal employees should not reveal information about the papers received to anyone other than the authors themselves and the reviewers. They should ensure that throughout the process the anonymity of reviewers and authors is maintained at all times.
• Conflicts of interest and disclosure. Editors should not use results from papers submitted to them for their own research work without express permission from the author.
• Recognition of error. Editors should publish corrections, clarifications, retractions and apologies when necessary.
• Quality. Editors should elicit the opinions of authors, reviewers and the editorial board in order to improve the editorial process.

Authors
• Authorship of the text. Papers submitted should be signed by the author and by anyone else who has played a significant role in planning, organising, conducting or processing the research that the paper is reporting on. In cases of co-authorship, the author submitting the text should state explicitly that it contains the names of all the authors, and that these have given their approval to the final version of the paper, for publication in a UAB journal.
• Responsibility. Authors take full responsibility for the content of their manuscript.
• Plagiarism and originality. Authors should be prepared to declare that the paper submitted to the journal is original in each and all of its parts and that all sources used are correctly cited in it.
• Access and conservation of data. At the editors' request, authors should clarify the sources or the data on which the research is based. These data should be kept for a reasonable time after publication, and may be disclosed if necessary.
• Multiple or repeated publication and conflicts of interest. Authors should not publish papers that present the same content in more than one journal at the same time.
• Conflicts of interest and disclosure. Authors should be prepared to declare that there is no conflict of interest that could affect the results of the research or the interpretations offered. They should also state sources of funding for the research, where applicable, and the name of the project their paper reports on.
• Errors in published papers. Authors who discover an important error or inaccuracy in a published paper should inform the journal editors and provide any information needed to make the necessary corrections.

Reviewers
• Peer review. A system of double-blind review is to be adopted, which helps editors and the editorial board to make decisions on manuscripts submitted and at the same time gives authors an opportunity to improve their work.
• Meeting lead times. Having agreed to review a paper, reviewers should respect the lead times established. If unable to do so, they should give sufficient notice of this to the editors.
• Confidentiality. Papers under review are considered to be confidential documents, so the reviewers should not discuss them with third parties without the permission of the editors.
• Objectivity. Reviews should be carried out objectively. Reviewers should express their opinions on manuscripts appropriately and justify their conclusions.
• Bibliographic references. Reviewers should provide exact bibliographic data on works of importance in the paper's subject area that the author may have omitted. Reviewers should also inform editors about any similarities detected between the text under review and other works.
• Conflicts of interest and disclosure. Any restricted information obtained in the review process is considered confidential and may not be used for personal ends. If carrying out a review entails a conflict of interest for reviewers because they have collaborated or competed with the authors or the authors' institutions, these reviewers should decline the review proposal.

Publication Fees

Since the publication costs for Questiones Publicitarias are covered by the editing university internal budgets, authors do not need to pay an article-processing charge (APC) and no waivers are offered.

Journal History

The journal Questiones Publicitarias was born in 1993 from the visionary perspective of the professor of The University of Seville, Juan Rey Fuentes. In its trajectory can be distinguished several stages. During the first (1993-2000), eight issues and two monographs were published, one on corporate and institutional communication and another on political communication. In 2004, the second stage began, marked by a new style of layout and international projection, as it was included in Latindex and in the directories of CINDOC of the CSIC. The number 12 (2007) maintains the new style and the international character, but leaves the paper to transform itself into an electronic magazine. New times, new supports.
In 2017, professor Daniel Tena Parera of The Universitat Autònoma de Barcelona, assumes the edition of the journal and begins a new stage through the Open Journal Systems platform of scientific journals of the UAB.

The covers

1993-2000 The first images that appear on the cover of “Questiones Publicitarias” correspond to a brushstroke of paint. The “Brushstroke” is the monumental sculpture about the profession of painter that Lichtenstein made in 1965 in reference to Action Painting through “quotes” of the gestural brushstroke that characterizes abstract expressionism and subsequently reproduced in countless situations. Therefore, the “brochazo” is a fragment of Roy Lichtenstein, one of the fathers of North American Pop Art, whose work, as is known, has a close relationship with advertising. The creations of Roy Lichtenstein (New York, 1923 – 1997) became relevant in the sixties due to the use of industrial reproduction techniques and their application to advertising design. On the other hand, the format and design of “Questiones Publicitarias” is directly inspired by the “Revista de Occidente”.

Source: DOI: https://doi.org/10.5565/rev/qp.371

2004-2015 Coinciding with the redesign of the magazine and the move to a digital edition, it was also proposed to make a change to the images on the covers. Thus, with the objective of using product images, the link between current advertising and “old” advertising was reinforced in the sense of giving continuity to the advertising discourse. “Netol” was followed by “Carcomín”, “Polvo Noël”, “Norit” detergent, “La Borgueña” raisins, “Arroz Granito”, “La Palmera” razor blades, “Fontaneda” cookies, “Fontaneda” tobacco. Ideals.” In the monographs, Lichtenstein's brushstroke continued to be used in the era of brushstrokes and a now classic advertisement (Put it on, put it on) in the era of advertisements.

Source: DOI: https://doi.org/10.5565/rev/qp.371

V1N21-22 Graphic Advertisement Advertising SEAT 600. In May 1957 the history of the Seat 600 began. It was its most popular vehicle and since the late 1950s, it marked the development of Spain during the dictatorship.

V2N23-24 Danone Advertising Graphic Advertisement. With the industrialization and commercialization as a food for mass consumption of a medicinal product that was sold in pharmacies to soothe stomach pain, Danone advertising posters began to be made (1919). Artists such as Cappielle, Ruane, Llopis, Segrelles, Téllez and Carlos Vázquez, created authentic works of art for advertising purposes. Later in 1941, the company Danone S.A was established and in 1968 the first television advertisement “I want Danone, give me Danone!…” was produced. In 1970 Dany was launched on the market; in 1972 the Petit Suisse appears “To the rich, rich, rich petit suisse!”; in 1974 Danone Custard “Ready to taste”...

V3N25-26 At the end of the 19th century in Badalona, Vicente Bosch, the creator of Anís del Mono, gave this name to the brand when he received a friendly monkey from America as a business gift. For the bottle he was inspired by the packaging of a perfume. The bottle label shows the monkey's face with humanoid features based on Charles Darwin. In 1897, Vicente Bosch called the first poster contest in Spain, which Ramón Casas won, and in 1913 he managed to get Anís del Mono to have the first illuminated poster for Puerta del Sol.

Source: http://www.anisdelmono.es/historia/ [July, 2020]

V4N27-28 The Gracia neighbourhood of Barcelona saw the birth of the ColaCao brand in 1945. José María Ventura and José Ignacio Ferrero began working on a handcrafted product based on cocoa and without additives that would be launched a year later on the Spanish market. Colacao has been one of the brands linked to the history of advertising in Spain. It was a pioneer in innovation in advertising formats. In the mid-1950s it opted for radio, being the first brand to sponsor a radio soap opera. It was about Matilde, Perico and Periquín, on Radio Barcelona - Cadena SER. And he did it with one of the most popular jingles in the history of advertising in our country: the ColaCao Song.

Source: https://www.colacao.es/ [July, 2020]; https://www.lahistoriadelapublicidad.com/ficha.php?Cod_pro=125 [July, 2020]

V5N29-30 Almost a century ago, in Barcelona in 1917, TITAN was born in a small laboratory on Calle del Pi. Research and production, everything was carried out within those four walls that soon became small, which led them to move to the industrial heart of the city: Poblenou. Joaquim Folch i Girona, considered a world authority in lead mining, would be the person who would set the course for TITAN Industries and make his name synonymous with quality and service, betting on research and technological innovation. With it, new products were developed and existing ones were improved, but the greatest advance would come with the creation in 1934 of the first completely nationally manufactured synthetic enamel: TITANLUX. Its quality was so extraordinary and superior to that of its counterparts that the word TITANLUX would be used to designate any paint. That philosophy of research and innovation was what made TITAN emerge stronger from the Civil War and World War II. From that dark time something unique would be born: TITAN Oil Colours. Its fame became such that Parisian painters exchanged two tubes of the best French oil paint for one of TITAN. 1955 was another historic year for TITAN Industries. The launch of a new, modern factory would make it the only company in the sector capable of assuming the entire paint manufacturing process. And a few years later, it would emerge as the undisputed leader of the Spanish market, reaching all areas of life: from private homes, making painting "the easiest DIY", to high culture, giving colour to intervention that the great painter Joan Miró carried out on the façade of the College of Architects of Catalonia. Its unstoppable growth made it necessary to change location, moving to El Prat de Llobregat, just a few kilometers from Barcelona, where its headquarters remain today. There began a new stage focused on the growth and development of its productive capacity. And some of its most important products were also born there, such as the practical TITAN UNACAPA or the multi-surface TITAN UNILAK. TITAN ended the 20th century with the launch of the most modern factory in Europe for water-based plastic paints and entered the 21st century offering the widest and highest quality range of products on the market.

Source: https://www.titanlux.es/es/acerca (accessed November 2020); https://youtu.be/TzODN6rcfGk (accessed: November 2020).

V6N31-32 Chupa chups!!! The genius of sticking a stick into a ball of candy was invented in 1958 by the Catalan confectioner and businessman Enric Bernat. The original name was “chups” which was replaced by the one that people mentioned when asking for it in stores: "Chupa Chups" as a result of a radio campaign ("Suck a sweet candy, suck, suck, suck Chups!"). Therefore, in 1963 Bernat decided to change the name of the brand to Chupa Chups. For the distribution of his new product, Bernat, with the aim of selling the candy, promoted a self-distribution system using a fleet of Seat 600s decorated with the drawing and logo of Chupa Chups. Around 1969, Bernat wanted to change the brand's logo and convinced Salvador Dalí to draw a new and original logo. Initially the Chupa Chups logo used two different font styles. In the eighties the typography was unified based on the Coca-Cola logo.

Source: https://historia.nationalgeographic.com.es/a/chupa-chups-origen-famoso-caramelo-palito_17922; https//youtu.be/yZBU3_-AzzQ

V7N33-34 Bicycle derivatives. Derby. Simeón Rabasa Singla (Barcelona 1901) opened a bicycle repair workshop in 1922. With Vicente Solá they expanded the business located in Mollet del Vallès (Barcelona) in 1925 and in 1935 they founded Bicicletas Rabasa. After the break of the Civil War, a new business horizon opened up so that, starting in the 1940s, the motorcycle business was seen as an objective to be achieved. Various progress and what is now called “reverse engineering” allow the development of a motorcycle of which three prototypes are made with the aim of seeking financing. In 1950 they founded Nacional Motor, the company that would manufacture the motorcycle they called Derbi 250.

Source: https://www.formulamoto.es/zona-clasicas/historia-derbi-primera-parte/368992.html (Consultation: November 2023)