Pub Date : 2023-06-03DOI: 10.1177/14695405231181510
Michele Bonazzi, G. Cancellieri, F. Casarin
How do omnivorous consumers perceive co-creation in cultural consumption? In this article, we combine observation data on co-created cultural productions, focus groups and field interviews to investigate omnivorous consumers’ perceptions of artistic experiences characterized by different degrees of co-creation. We explored this topic in the context of co-creative theatre, an emergent theatrical genre that provides for the active involvement of omnivorous consumers in the staging of a theatrical performance. Our findings reveal new dimensions of what it means for omnivorous consumers to be culturally open by showing their perceptions of interactive and participatory art, two distinct co-creative artistic experiences. While interactive art encourages consumers to intervene in the artistic experience by following the precise direction of the professional artists on stage, participatory art entails an even more active and autonomous role of consumers in the design of the experience. Our findings indicate that there are differences between the way in which consumers perceive interactive art and participatory art and that two distinct dimensions of cultural consumption – novelty and authenticity – emerge from different co-creative dynamics. The observed co-creation experiences portray the transformation of the omnivorous consumers from spectators or visitors to co-authors of the experience and mark the dissolution of the existing boundaries between production and consumption.
{"title":"Omnivorous cultural consumption and the co-creation of cultural products: Interactive versus participatory art","authors":"Michele Bonazzi, G. Cancellieri, F. Casarin","doi":"10.1177/14695405231181510","DOIUrl":"https://doi.org/10.1177/14695405231181510","url":null,"abstract":"How do omnivorous consumers perceive co-creation in cultural consumption? In this article, we combine observation data on co-created cultural productions, focus groups and field interviews to investigate omnivorous consumers’ perceptions of artistic experiences characterized by different degrees of co-creation. We explored this topic in the context of co-creative theatre, an emergent theatrical genre that provides for the active involvement of omnivorous consumers in the staging of a theatrical performance. Our findings reveal new dimensions of what it means for omnivorous consumers to be culturally open by showing their perceptions of interactive and participatory art, two distinct co-creative artistic experiences. While interactive art encourages consumers to intervene in the artistic experience by following the precise direction of the professional artists on stage, participatory art entails an even more active and autonomous role of consumers in the design of the experience. Our findings indicate that there are differences between the way in which consumers perceive interactive art and participatory art and that two distinct dimensions of cultural consumption – novelty and authenticity – emerge from different co-creative dynamics. The observed co-creation experiences portray the transformation of the omnivorous consumers from spectators or visitors to co-authors of the experience and mark the dissolution of the existing boundaries between production and consumption.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":" ","pages":""},"PeriodicalIF":2.6,"publicationDate":"2023-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47732653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1177/14695405221103411
Otávio Daros
The key argument of this article is that fan communities create, in their own way, a kind of prosumer media activism. Through a netnographic approach, I analyze aspects of fan labor and value creation, self-organization and entrepreneurship, agency and exploitation in an online discussion forum about the American singer Britney Spears in Brazil. Based on this case study on social networking, I develop the argument that it is possible to see digital fandom as a stage for a commodified cyberactivism, in which some social actors in the role of prosumers, on the one hand, exercise their freedom and find, more than gratification, ways to project themselves individually in society. But, on the other hand, they are subject to exploitative relationships, such as unpaid work, to promote the personality whose concrete relationship with their lives often does not go beyond media practices.
{"title":"Prosumer activism: The case of Britney Spears’ Brazilian fandom","authors":"Otávio Daros","doi":"10.1177/14695405221103411","DOIUrl":"https://doi.org/10.1177/14695405221103411","url":null,"abstract":"The key argument of this article is that fan communities create, in their own way, a kind of prosumer media activism. Through a netnographic approach, I analyze aspects of fan labor and value creation, self-organization and entrepreneurship, agency and exploitation in an online discussion forum about the American singer Britney Spears in Brazil. Based on this case study on social networking, I develop the argument that it is possible to see digital fandom as a stage for a commodified cyberactivism, in which some social actors in the role of prosumers, on the one hand, exercise their freedom and find, more than gratification, ways to project themselves individually in society. But, on the other hand, they are subject to exploitative relationships, such as unpaid work, to promote the personality whose concrete relationship with their lives often does not go beyond media practices.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":"23 1","pages":"428 - 443"},"PeriodicalIF":2.6,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45514321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1177/14695405221088920
R. Moisio, M. Beruchashvili
The current paper examines how men are socialized to the ideal of fighter masculinity in the context of Mixed Martial Arts (MMA), a combat sport mixing ground fighting and striking. Such work is timely because the fighter masculinity ideal underlies consumer cultural fascination with MMA, evident in advertising and branding of numerous fight promotions, lifestyle clothing and accessory brands, news and media channels, and fitness gyms. The theoretical focus on fighter masculinity addresses the paucity of research on how consumer identities are socialized. Utilizing long interviews with male amateur practitioners of MMA, the current research elucidates identity socialization as a multi-influence process that unfolds over an extended period in men’s lives. The findings uncover four novel consumer identity socialization processes: awakening, sanctioning, glamorizing, and incorporating, each associated with distinct socialization contexts and influences that enhance the resonance of fighter masculinity. This research also highlights the need to broaden consumer socialization frameworks in line with the post-cognitive notion of cultural enculturation.
{"title":"Men becoming fighters: Exploring processes of consumer socialization","authors":"R. Moisio, M. Beruchashvili","doi":"10.1177/14695405221088920","DOIUrl":"https://doi.org/10.1177/14695405221088920","url":null,"abstract":"The current paper examines how men are socialized to the ideal of fighter masculinity in the context of Mixed Martial Arts (MMA), a combat sport mixing ground fighting and striking. Such work is timely because the fighter masculinity ideal underlies consumer cultural fascination with MMA, evident in advertising and branding of numerous fight promotions, lifestyle clothing and accessory brands, news and media channels, and fitness gyms. The theoretical focus on fighter masculinity addresses the paucity of research on how consumer identities are socialized. Utilizing long interviews with male amateur practitioners of MMA, the current research elucidates identity socialization as a multi-influence process that unfolds over an extended period in men’s lives. The findings uncover four novel consumer identity socialization processes: awakening, sanctioning, glamorizing, and incorporating, each associated with distinct socialization contexts and influences that enhance the resonance of fighter masculinity. This research also highlights the need to broaden consumer socialization frameworks in line with the post-cognitive notion of cultural enculturation.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":"23 1","pages":"331 - 348"},"PeriodicalIF":2.6,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46610880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1177/14695405221095001
Sergio A. Cabrera
This article examines the cultural processes a group of middle-class parents engage in to manage tensions between their classed sense of proper consumer-parenting and their children’s consumer interests and desires. Based on analysis of qualitative data from interviews with parents with young children living in a middle-class neighborhood in Austin, Texas, I highlight the cultural practices through which parents acquiesce to their children’s desires without compromising their own classed consumer norms. Specifically, in this article I highlight the cultural processes through which middle-class parents (1) draw distinctions between spending on objects and spending on experiences, and (2) engage in intra-group “circuits of commerce” through which class actors confer positive shared meanings and moral understandings to otherwise excessive or “bad” consumer spending. Examining the ways in which parents were able to provide many of the “cheap” consumer goods their children desire without compromising their classed consumer norms provides insights into class boundaries in contemporary U.S. society as well as the role of consumerism and consumer culture in the reproduction of class inequalities.
{"title":"Consumer parenting, cultural processes, and the reproduction of class inequality","authors":"Sergio A. Cabrera","doi":"10.1177/14695405221095001","DOIUrl":"https://doi.org/10.1177/14695405221095001","url":null,"abstract":"This article examines the cultural processes a group of middle-class parents engage in to manage tensions between their classed sense of proper consumer-parenting and their children’s consumer interests and desires. Based on analysis of qualitative data from interviews with parents with young children living in a middle-class neighborhood in Austin, Texas, I highlight the cultural practices through which parents acquiesce to their children’s desires without compromising their own classed consumer norms. Specifically, in this article I highlight the cultural processes through which middle-class parents (1) draw distinctions between spending on objects and spending on experiences, and (2) engage in intra-group “circuits of commerce” through which class actors confer positive shared meanings and moral understandings to otherwise excessive or “bad” consumer spending. Examining the ways in which parents were able to provide many of the “cheap” consumer goods their children desire without compromising their classed consumer norms provides insights into class boundaries in contemporary U.S. society as well as the role of consumerism and consumer culture in the reproduction of class inequalities.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":"23 1","pages":"349 - 368"},"PeriodicalIF":2.6,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43906679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1177/14695405221100383
Alejandro Marambio-Tapia
Credit is ubiquitous in the life of Chilean households, the oldest neoliberal society. It is a key feature in the budgeting, shopping, and consuming practices of families. Consequently, to be indebted is a normal expectation in Chile. Families engage with the ‘necessary evil’ of credit in different ways, representing a massive, regular use of credit as short, medium and long-term leverage tools, with store cards being the main source of credit for lower and moderate income families in general. Moral obligations together with conventional and unconventional financial knowledge accompany the everyday situated economic practices of families. Addressing both the normalisation and the moralisation of credit, I attempt to make the case for the ongoing resignification of credit and debt and the evolving moral assessments of indebtedness, focusing on moderate and low-income households, namely those who embrace credit during recent decades. This article contributes to the discussion about the meaning of debt, to understand the financialisation of everyday life by looking at situated economic practices, and to recognise the social, moral and relational foundations of the economic practices. From the coming of the expansion of credit, households have learnt to deal with economic rationalities and internal and external moral judgements in order to justify their use of credit. Together with structural factors, this develops indebtedness assessments from detachment to naturalisation, placing credit and debt in the centre of ‘decent life’ expectations.
{"title":"The evolving moral economy of indebtedness in Chile: resignifying credit and debt in the oldest neoliberal society","authors":"Alejandro Marambio-Tapia","doi":"10.1177/14695405221100383","DOIUrl":"https://doi.org/10.1177/14695405221100383","url":null,"abstract":"Credit is ubiquitous in the life of Chilean households, the oldest neoliberal society. It is a key feature in the budgeting, shopping, and consuming practices of families. Consequently, to be indebted is a normal expectation in Chile. Families engage with the ‘necessary evil’ of credit in different ways, representing a massive, regular use of credit as short, medium and long-term leverage tools, with store cards being the main source of credit for lower and moderate income families in general. Moral obligations together with conventional and unconventional financial knowledge accompany the everyday situated economic practices of families. Addressing both the normalisation and the moralisation of credit, I attempt to make the case for the ongoing resignification of credit and debt and the evolving moral assessments of indebtedness, focusing on moderate and low-income households, namely those who embrace credit during recent decades. This article contributes to the discussion about the meaning of debt, to understand the financialisation of everyday life by looking at situated economic practices, and to recognise the social, moral and relational foundations of the economic practices. From the coming of the expansion of credit, households have learnt to deal with economic rationalities and internal and external moral judgements in order to justify their use of credit. Together with structural factors, this develops indebtedness assessments from detachment to naturalisation, placing credit and debt in the centre of ‘decent life’ expectations.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":"23 1","pages":"409 - 427"},"PeriodicalIF":2.6,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48101561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-17DOI: 10.1177/14695405231170684
Meri Frig, Maarit Jaakkola
This article examines the representation of sustainability on the online lifestyle site Goop as a case study of how promotional media deal with environmental and social concerns. Specifically, the paper presents how promotional intermediaries address or conceal a tension between (1) the promotion of conspicuous consumption and (2) the advocacy of sustainable living. The paper contributes to cultural intermediary scholarship by showing how promotional intermediaries attempt to reconcile this tension, advocating consumerism favorable to them while still enhancing critical cultural citizenship. By presenting sustainable brands and environmental advocates, and different—at times, incommensurable—narratives on the relationship between sustainability and consumption, promotional intermediaries signal that sustainability is important while promoting actions that can be considered to contradict the idea of sustainability, such as excessive consumption. In this way they produce a safe space for brands and consumers but arrive at a sustainability paradox.
{"title":"Between conspicuous and conscious consumption: The sustainability paradox in the intermediary promotional work of an online lifestyle site","authors":"Meri Frig, Maarit Jaakkola","doi":"10.1177/14695405231170684","DOIUrl":"https://doi.org/10.1177/14695405231170684","url":null,"abstract":"This article examines the representation of sustainability on the online lifestyle site Goop as a case study of how promotional media deal with environmental and social concerns. Specifically, the paper presents how promotional intermediaries address or conceal a tension between (1) the promotion of conspicuous consumption and (2) the advocacy of sustainable living. The paper contributes to cultural intermediary scholarship by showing how promotional intermediaries attempt to reconcile this tension, advocating consumerism favorable to them while still enhancing critical cultural citizenship. By presenting sustainable brands and environmental advocates, and different—at times, incommensurable—narratives on the relationship between sustainability and consumption, promotional intermediaries signal that sustainability is important while promoting actions that can be considered to contradict the idea of sustainability, such as excessive consumption. In this way they produce a safe space for brands and consumers but arrive at a sustainability paradox.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":" ","pages":""},"PeriodicalIF":2.6,"publicationDate":"2023-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43475275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-12DOI: 10.1177/14695405231168963
Shi Zheng
This study aims to understand how Chinese audiences have consumed and engaged in BBC’s Sherlock as a transcultural fan with the help of digital media. Drawing on the transcultural and gendered fan studies and 36 qualitative interviews, this article interrogates Chinese Sherlock fandom within the hybridised transcultural flow of texts and identity. The key argument is that Chinese Sherlock fans have created a female-dominated fandom that updates the gendered fandom by enriching paratexts of Boys’ Love (BL) whilst China’s censorship has largely constrained fans’ homosexual productivity. On the one hand, the wide application of digital media technologies largely helps Chinese fans to access Sherlock transnationally and contribute to the global Sherlock fandom; on the other, the censoring mediascape in China has restricted fan prosumption, as erotic/homosexual fan work is not regarded as a canonical culture. This study thereby concludes, although Chinese Sherlock fans have been cultivated to circumvent the media censoring mechanism and produce fantexts outside China that features resistance power and fan intelligence, the compromised fan culture is understood as incomplete rebellion because Chinese fans have made concessions and the alternative choices are tacit by the national power itself.
{"title":"Gendered fandom in transcultural context- female-dominated paratexts and compromised fan culture","authors":"Shi Zheng","doi":"10.1177/14695405231168963","DOIUrl":"https://doi.org/10.1177/14695405231168963","url":null,"abstract":"This study aims to understand how Chinese audiences have consumed and engaged in BBC’s Sherlock as a transcultural fan with the help of digital media. Drawing on the transcultural and gendered fan studies and 36 qualitative interviews, this article interrogates Chinese Sherlock fandom within the hybridised transcultural flow of texts and identity. The key argument is that Chinese Sherlock fans have created a female-dominated fandom that updates the gendered fandom by enriching paratexts of Boys’ Love (BL) whilst China’s censorship has largely constrained fans’ homosexual productivity. On the one hand, the wide application of digital media technologies largely helps Chinese fans to access Sherlock transnationally and contribute to the global Sherlock fandom; on the other, the censoring mediascape in China has restricted fan prosumption, as erotic/homosexual fan work is not regarded as a canonical culture. This study thereby concludes, although Chinese Sherlock fans have been cultivated to circumvent the media censoring mechanism and produce fantexts outside China that features resistance power and fan intelligence, the compromised fan culture is understood as incomplete rebellion because Chinese fans have made concessions and the alternative choices are tacit by the national power itself.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":" ","pages":""},"PeriodicalIF":2.6,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45409351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.1177/14695405231166875
Luuc Brans
As the climate crisis accelerates, consumers, lawmakers, and activists demand transparent supply chains in industries that form the material backbone of cultural fields such as fashion. Consequently, new apps have emerged that promise to make supply chains transparent by translating opaque production data into easily comprehensible product ratings. Integrating the literature on transparency, cultural intermediaries, and digital consumption apps, this article asks: how do these apps, which I call transparency apps, afford politics in cultural fields and new political ways of consumption? Using fashion as a strategic case of a cultural field with strong material underpinnings, this paper combines a walkthrough analysis of Good On You, Retraced, and Renoon with interviews of employees of the first two. I found these apps to afford a politics of transparency consist of eco-progressive values embedded in ideologies of consumer rights and self-optimization, which elevates the technical-material logic of fashion at the cost of its aesthetic logic. This politics is usually offered in a personalized form resembling platformized cultural production. Transparency apps are thus politicizing cultural intermediaries that simultaneously enable and limit the political contestation of fashion. This article demonstrates how transparency apps bring politics to cultural fields, upsetting usual logics in the process, carrying implications for any cultural field that faces demands for supply chain transparency.
随着气候危机的加剧，消费者、立法者和活动人士要求在时尚等文化领域的物质支柱产业中建立透明的供应链。因此，新的应用程序出现了，它们承诺通过将不透明的生产数据转换为易于理解的产品评级，使供应链透明化。本文整合了关于透明度、文化中介和数字消费应用的文献，提出了一个问题:这些我称之为透明度应用的应用，是如何在文化领域提供政治和新的政治消费方式的?本文将时尚作为一个具有强大物质基础的文化领域的战略案例，结合了对Good On You、retracing和Renoon的攻略分析以及对前两家公司员工的采访。我发现这些应用程序提供了一种透明的政治，包括嵌入在消费者权利和自我优化意识形态中的生态进步价值观，它以牺牲美学逻辑为代价提升了时尚的技术-材料逻辑。这种政治通常以个性化的形式提供，类似于平台化的文化生产。因此，透明应用程序正在将文化中介政治化，同时使时尚的政治争论成为可能，也受到限制。这篇文章展示了透明应用程序如何将政治带入文化领域，在这个过程中打破了通常的逻辑，对任何面临供应链透明度要求的文化领域都有启示。
{"title":"“Who made my clothes?” how transparency apps bring politics to cultural fields","authors":"Luuc Brans","doi":"10.1177/14695405231166875","DOIUrl":"https://doi.org/10.1177/14695405231166875","url":null,"abstract":"As the climate crisis accelerates, consumers, lawmakers, and activists demand transparent supply chains in industries that form the material backbone of cultural fields such as fashion. Consequently, new apps have emerged that promise to make supply chains transparent by translating opaque production data into easily comprehensible product ratings. Integrating the literature on transparency, cultural intermediaries, and digital consumption apps, this article asks: how do these apps, which I call transparency apps, afford politics in cultural fields and new political ways of consumption? Using fashion as a strategic case of a cultural field with strong material underpinnings, this paper combines a walkthrough analysis of Good On You, Retraced, and Renoon with interviews of employees of the first two. I found these apps to afford a politics of transparency consist of eco-progressive values embedded in ideologies of consumer rights and self-optimization, which elevates the technical-material logic of fashion at the cost of its aesthetic logic. This politics is usually offered in a personalized form resembling platformized cultural production. Transparency apps are thus politicizing cultural intermediaries that simultaneously enable and limit the political contestation of fashion. This article demonstrates how transparency apps bring politics to cultural fields, upsetting usual logics in the process, carrying implications for any cultural field that faces demands for supply chain transparency.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":" ","pages":""},"PeriodicalIF":2.6,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47070789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.1177/14695405231168971
L. Davis, T. Gibbons
The nature of prosumption is one of the most important areas of debate within the study of contemporary consumer culture. David L. Andrews and George Ritzer highlighted how the majority of literature in the 21st century has focused on the sociology of sport as a form of consumer culture, and that there is a distinct lack of research into the exploration of fan atmospheres in regard to physical prosumption at live sports events as opposed to virtual spaces. We seek to address this through utilising findings from a 3-year ethnographic study at a range of live Professional Darts Corporation (PDC) events across the globe. Our findings extend existing knowledge on prosumer fandom, providing valuable insights for researchers on how sports organisations, when promoting their sporting event, utilise the fans as both producers and consumers to help create fervent atmospheres and market their sport to associated media outlets.
消费的本质是当代消费文化研究中最重要的争论领域之一。David L. Andrews和George Ritzer强调了21世纪的大多数文学是如何将体育社会学作为消费文化的一种形式来关注的，并且明显缺乏对现场体育赛事中物理消费的粉丝氛围的探索研究，而不是虚拟空间。我们试图通过利用在全球范围内一系列现场专业飞镖公司(PDC)活动中进行的为期3年的人种学研究结果来解决这个问题。我们的研究结果扩展了现有的关于专业消费者球迷的知识，为研究人员提供了有价值的见解，帮助他们了解体育组织在推广体育赛事时，如何利用球迷作为生产者和消费者来帮助创造热烈的气氛，并向相关媒体推销他们的运动。
{"title":"‘We can’t participate like this at football, can we’? Exploring in-person performative prosumer fandom at live PDC darts events","authors":"L. Davis, T. Gibbons","doi":"10.1177/14695405231168971","DOIUrl":"https://doi.org/10.1177/14695405231168971","url":null,"abstract":"The nature of prosumption is one of the most important areas of debate within the study of contemporary consumer culture. David L. Andrews and George Ritzer highlighted how the majority of literature in the 21st century has focused on the sociology of sport as a form of consumer culture, and that there is a distinct lack of research into the exploration of fan atmospheres in regard to physical prosumption at live sports events as opposed to virtual spaces. We seek to address this through utilising findings from a 3-year ethnographic study at a range of live Professional Darts Corporation (PDC) events across the globe. Our findings extend existing knowledge on prosumer fandom, providing valuable insights for researchers on how sports organisations, when promoting their sporting event, utilise the fans as both producers and consumers to help create fervent atmospheres and market their sport to associated media outlets.","PeriodicalId":51461,"journal":{"name":"Journal of Consumer Culture","volume":" ","pages":""},"PeriodicalIF":2.6,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46613631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-26DOI: 10.1177/14695405231160597
A. Bradshaw, P. Haynes
This paper investigates the UKIP Breaking Point advertisement, which appeared prominently during the Brexit referendum campaign and used a documentary photograph of Syrian refugees, implying that they were migrating to Britain. We chart the assemblage through which the transformation of the image occurred: starting as Jeffrey Mitchell’s documentary photograph, charting news of the journey of a group of refugees, but becoming appropriated as an advertising image and ultimately an expression of political notoriety. The controversy generated by the advertisement serves as an example of advertising's meaning becoming a source of unpredictable contestation as different interests clash to define the image’s ‘real’ meaning. Rather than take advertising as a managed process, with meaning directly encoded and carefully crafted by producers, a cultural politics of advertising perceives advertisements as comprised of raw material whose meanings are ambiguous, negotiable and politically charged. Through this lens, advertising images are contextualized by a process of production and consumption, partly shaped by the producers of the advertisement, but also largely mediated by responses of the wider public, creative fields from where the original image was produced, and by unforeseen factors, such as when texts become overtaken by events and appropriated by intermediaries. Breaking Point, in other words, presents a perfect example to illustrate that advertising is not merely a passive channel that represents but is instead an assemblage able to shape engagement and (coercively) infer meanings and draw distorted patterns from different social worlds.
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