{"id":2255,"date":"2015-06-10T16:08:03","date_gmt":"2015-06-10T15:08:03","guid":{"rendered":"https:\/\/charisma.local\/charisma2023\/char1smaSSL\/?post_type=consumption&p=2255"},"modified":"2025-09-27T23:45:46","modified_gmt":"2025-09-27T22:45:46","slug":"consumption-markets-culture-best-paper-award-2014","status":"publish","type":"consumption","link":"https:\/\/www.journalofculturaleconomy.org\/charisma\/consumption\/consumption-markets-culture-best-paper-award-2014","title":{"rendered":"Consumption Markets & Culture Best Paper award, 2014"},"content":{"rendered":"

Consumption Markets & Culture is pleased to announce its Best Paper award for articles published in 2014. They will be available free, for a limited time, on the journal\u2019s website: http:\/\/www.tandfonline.com\/toc\/gcmc20\/current<\/a><\/p>\n

Best Papers:<\/strong><\/span><\/p>\n

Nicholas Carah (2014) Brand value: how affective labour helps create brands,\u00a0Consumption Markets & Culture<\/em>, 17:4, 346-366. http:\/\/dx.doi.org\/10.1080\/10253866.2013.847435<\/a><\/p>\n

One way brands create value is by engaging the capacity of cultural labourers to\u00a0animate affective connections with consumers. Brands assemble social spaces\u00a0that harness the communicative capacities of cultural actors. A mode of branding\u00a0that works by managing an open-ended social process depends on affective\u00a0labour. Affective labour involves not only the capacity of individuals to produce\u00a0specific meanings and feelings, but also the open-endedly social capacity to stimulate\u00a0and channel attention and recognition. This affective labour does not always\u00a0depend on making particular \u201cauthentic\u201d representations, but on facilitating a\u00a0general circulation of meaning. By investing in social spaces and relations corporate\u00a0brands engage popular musicians in new forms of labour. This article examines\u00a0the participation of popular musicians in branding programmes run in Australia by\u00a0corporate brands between 2005 and 2010. I examine the accounts of musicians and\u00a0managers who participate in these programmes to consider how they make their\u00a0participation in social relations that create brand value meaningful. They employ\u00a0a variety of practices: identifying with brands, endorsing brands\u2019 claims of socially\u00a0responsible investment in culture, and distancing themselves from their own participation in branded space.<\/p>\n

Andrew Higson (2014) Nostalgia is not what it used to be: heritage films,\u00a0nostalgia websites and contemporary consumers, Consumption Markets & Culture<\/em>, 17:2, 120-142. DOI: 10.1080\/10253866.2013.776305<\/p>\n

Nostalgia is not a singular phenomenon; it is multi-layered, diversely experienced\u00a0and variously exploited, as I demonstrate by briefly outlining the history of nostalgia,\u00a0especially the recent shift from modern to post-modern versions of the experience.\u00a0The modern, temporal version of nostalgia is founded on the unattainable\u00a0distance between the past and the present; the post-modern, atemporal version\u00a0erases this sense of distance. Central to the modern concept of nostalgia is the\u00a0experience of wistfulness, a hopeless longing for something lost and irrecoverable.\u00a0But for post-modern nostalgics, the irrecoverable is now attainable, the difference\u00a0between past and present flattened out. This is partly because post-modern nostalgia\u00a0re-cycles images, objects and styles associated with the relatively recent past, a\u00a0prime site of such re-cycling being the Internet. I therefore look at a range of websites\u00a0that use nostalgia as a central concept in their marketing and which demonstrate\u00a0some of these recent shifts in the experience of nostalgia. In the final part of this article, I explore these concerns in relation to the reception of four films\u00a0about the English, past released in the 2000s: Ladies in Lavender (2004), Becoming\u00a0Jane (2007), Brideshead Revisited (2008) and An Education (2009). How are films\u00a0mobilised for nostalgic purposes at the levels of production, marketing and consumption? How is an experience of the past built into these films? Are some of\u00a0the resulting images, sounds and pasts more resistant to nostalgic uses than\u00a0others? Are these films discussed by audiences in terms of nostalgia? If so, is\u00a0this is a positive or negative experience? Ranging in this way across a variety of\u00a0material, my article is an attempt to bring together cultural history, conceptual,\u00a0formal analysis and the analysis of reception or consumption.<\/p>\n

We also awarded an Honorable Mention:<\/span><\/strong><\/p>\n

John W. Schouten (2014) My improbable profession, Consumption Markets &\u00a0Culture<\/em>, 17:6, 595-608, DOI: 10.1080\/10253866.2013.850676<\/p>\n

Consumer ethnographers by virtue of their craft develop levels of knowledge and\u00a0understanding about people that run deeper than what they report to corporate\u00a0clients or in the pages of academic journals. It may be knowledge that does not\u00a0tell a particular brand story or serve a popular theoretical framework, and yet it\u00a0matters. This story plays in the realm of that surplus understanding. It is a work\u00a0of fiction. All characters and incidents are the author\u2019s creations.<\/p>\n

Janet Borgerson, Institute of Brands and Brand Relationships, Pierre McDonagh, University of Bath, UK, and Detlev Zwick, Schulich School of Business, Canada served as judges for this award.<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Consumption Markets & Culture announces its Best Paper awards for 2014, with Nicholas Carah’s paper on how affective labour helps create brands and Andrew Higson’s paper on the diversity of nostalgia coming at out as winners Read More<\/a><\/p>","protected":false},"author":58,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,15],"tags":[1138,475,1141,1137,1143,433,1139,758,1140,1142],"class_list":["post-2255","consumption","type-consumption","status-publish","hentry","category-all","category-announcements","tag-1138","tag-affect","tag-andrew-higson","tag-best-papers","tag-consumer-ethnography","tag-consumption-markets-and-culture","tag-john-w-schouten","tag-labour","tag-nicholas-carah","tag-nostalgia"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/consumption\/2255","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/consumption"}],"about":[{"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/types\/consumption"}],"author":[{"embeddable":true,"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/users\/58"}],"replies":[{"embeddable":true,"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/comments?post=2255"}],"version-history":[{"count":1,"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/consumption\/2255\/revisions"}],"predecessor-version":[{"id":2944,"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/consumption\/2255\/revisions\/2944"}],"wp:attachment":[{"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/media?parent=2255"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/categories?post=2255"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.journalofculturaleconomy.org\/charisma\/wp-json\/wp\/v2\/tags?post=2255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}