Selling Culture

Surveys the new practices of advertising, mass distribution of goods, and the birth of the inexpensive mass-audience magazine at the end of the 19th century, and their role in the creation of the American professional-managerial class. Focuses on magazine publishing, careers of key personalities in the publishing world, and the role of fiction in the magazines. For students and general readers. Annotation copyright by Book News, Inc., Portland, OR

An inside look at cultural industries, featuring interviews with key players from such companies as Twentiety-Century Fox, National Public Radio, and Coca-Cola. To what extent do moviemakers, television and radio producers, advertising executives, and marketers merely reflect trends, beliefs, and desires that already exist in our culture, and to what extent do they consciously shape our culture to their own ends? In-depth interviews with ten executives from the "culture industry" and five scholarly analyses examine that question, and address the issues of power and authority, meaning and identity, that arise when cultural producers define and react to audiences. In their own words, leaders from companies like Twentieth-Century Fox, National Public Radio, and Warner Bros. Television describe their perception of the sometimes paradoxical relationship between culture and what influences it. For example, while the former president of Coca-Cola North America claims the company has never tried to create a trend, he notes that "we market in more countries than belong to the United Nations [a product that] has insinuated itself into the lives of the people to a point where it has become-you know, it's there." These reflections by key players provide an unprecedented view, as editor Richard Ohmann writes, "into the ways cultural producers imagine or know markets and how such knowledge figures in their decisions about what events, experiences, and products to make."

From the 1920s until the outbreak of the Second World War, Australia, Canada, and New Zealand filled British shop windows, newspaper columns, and cinema screens with “British to the core” Canadian apples, “British to the backbone” New Zealand lamb, and “All British” Australian butter. In remarkable yet forgotten advertising campaigns, prime ministers, touring cricketers, “lady demonstrators,” and even boxing kangaroos were pressed into service to sell more Dominion produce to British shoppers. But as they sold apples and butter, these campaigns also sold a Dominion-styled British identity. Selling Britishness explores the role of commodity marketing in creating Britishness. Dominion settlers considered themselves British and marketed their commodities accordingly. Meanwhile, ambitious Dominion advertising agencies set up shop in London to bring British goods, like Ovaltine, back to the dominions and persuade their fellow citizens to buy British. Conventionally nationalist narratives have posited the growth of independent national identities during the interwar period, though some have suggested imperial sentiment endured. Felicity Barnes takes a new approach, arguing that far from shaking off or relying on any lasting sense of Britishness, Dominion marketing produced it. Selling Britishness shows that when constructing Britishness, advertisers employed imperial hierarchies of race, class, and gender. Consumption worked to bolster colonialism, and advertising extended imperial power into the everyday. Drawing on extensive new archives, Selling Britishness explores a shared British identity constructed by marketers and advertisers during advertising’s golden age.

Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the “digital music commodity,” Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music’s meanings and uses. Through case studies of five key technologies—Winamp, metadata, Napster, iTunes, and cloud computing—this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music, Formatting Culture is a sounding out of music’s encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.

Selling Immunity Self, Culture and Economy in Healthcare and Medicine provides a groundbreaking study of the ways in which immunity shapes life. Through its up-to-date discussion of immunity cultures, alongside detailed real-world examples, the book demonstrates how immunity is enmeshed in concepts of possessive individualism, self-defence and health consumerism. The book explores the rich metaphorical powers of immunity and the life narratives it inspires with reference to the talk of scientists, immunology texts and popular science magazines. The author provides a detailed overview of the ways in which digital media can shape the immune self with reference to cultural and social theories, providing insight into how immunitary knowledge and products are consumed and the benefits and drawbacks this has for healthcare. The book considers the significance of immunity for individuals navigating the threats to health that arise with pandemics and superbugs, with a keen look into how these ideas surface in everyday life across the globe. Finally, the book also discusses economic bases of healthcare technologies bent towards the protection and restoration of immunity. This book is essential reading for professionals within the fields of psychology, sociology, biomedical science, healthcare and other related disciplines. A broader audience will appreciate the book’s attention on the ways immunity is understood to be a personal possession, an object of life craft, and the basis for healthcare consumerism.

Pop City examines the use of Korean television dramas and K-pop music to promote urban and rural places in South Korea. Building on the phenomenon of Korean pop culture, Youjeong Oh argues that pop culture-featured place selling mediates two separate domains: political decentralization and the globalization of Korean popular culture. The local election system introduced in the mid 90s has stimulated strong desires among city mayors and county and district governors to develop and promote their areas. Riding on the Korean Wave—the overseas popularity of Korean entertainment, also called Hallyu—Korean cities have actively used K-dramas and K-pop idols in advertisements designed to attract foreign tourists to their regions. Hallyu, meanwhile, has turned the Korean entertainment industry into a speculative field into which numerous players venture by attracting cities as sponsors. By analyzing the process of culture-featured place marketing, Pop City shows that urban spaces are produced and sold just like TV dramas and pop idols by promoting spectacular images rather than substantial physical and cultural qualities. Popular culture-associated urban promotion also uses the emotional engagement of its users in advertising urban space, just as pop culture draws on fans’ and audiences’ affective commitments to sell its products. Oh demonstrates how the speculative, image-based, and consumer-exploitive nature of popular culture shapes the commodification of urban space and ultimately argues that pop culture–mediated place promotion entails the domination of urban space by capital in more sophisticated and fetishized ways.

"With the incredible popularity of Michael Moore's books and movies, and the continuing success of anti-consumer critiques like ADBUSTERS and Naomi Klien's NO LOGO, it is hard to ignore the growing tide of resistance to the corporate-dominated world. But do these vocal opponents of the status quo offer us a real political alternative?" "In this work of cultural criticism, Joseph Heath and Andrew Potter shatter the central myth of radical political, economic and cultural thinking. The idea of a counterculture, a world outside the consumer-dominated one that encompasses us, pervades everything from the anti-globalization movement to feminism and environmentalism. And the idea that mocking the system, or trying to 'jam' it so it will collapse, they argue, is not only counterproductive but has helped to create the very consumer society that radicals oppose." "In a blend of pop culture, history and philosophical analysis, Heath and Potter offer a startling, clear picture of what a concern for social justice might look like without the confusion of the counterculture obsession with being different."--Book jacket.