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Gurevitch argued that early cinematic attractions have more in common with television advertisements in the 1950s than they do with traditional films.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 advantage that it provided early film makers.While references to brands may be voluntarily incorporated into fictional works in an effort to maintain a feeling of realism or comment upon the brand itself, product placement is the deliberate incorporation of a brand or product into a work in exchange for compensation.Product placements may range from unobtrusive appearances of a brand or product within an environment, to prominent integration and acknowledgement of the product within the work.It's a Wonderful Life (1946) depicts a young boy with aspirations to be an explorer, displaying a prominent copy of National Geographic.In Love Happy (1949), Harpo cavorts on a rooftop among various billboards and at one point escapes from the villains on the old Mobil logo, the "Flying Red Horse".

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, held a copy of Die Woche in her hands. Harrison's editorials reflected his hostility towards product placement in films.Recognizable brand names appeared in movies from cinema's earliest history.Before films were even narrative forms in the sense that they are recognized today, industrial concerns funded the making of what film scholar Tom Gunning described as "cinematic attractions", short films of one or two minutes.Similarly, a painting by Eduoard Manet (1881-1882) shows a bar at Folies Bergere with distinctive bottles placed at either end of the counter.The beer bottle is immediately recognisable as Bass beer.

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