Arthur Berger - 'The Objects of Affection: Semiotics and Consumer Culture'

Berger, Arthur Asa (2010) The Objects of Affection: Semiotics and Consumer Culture. London: Palgrave MacMillan, pp33-54.

Berger opens up this article by suggesting that consumerism is little about buying brands and products, but consumerism is a reflection upon our lifestyle. Commercial brands and products that we buy are consciously linked to our income, class, tastes and identities. For example if you order take-out sushi over a McDonalds you’re saying to the world “Hey, I’m health conscious and can afford to splurge on my lunch.”

Mike Featherstone in his book ‘Consumer Cultures and Postmodernism’ (1991) outlines three components to consumer cultures: 

•  Consumerism is an expansion on capital commodity production.
•  Consumers receive satisfaction and status depending on products consumers.
•  Consumers receive great pleasure and emotion gratification.

Berger then uses the work of different theories and different opinions to compile thoughts regarding consumerism. He begins with the religious stand point and explains the work of Weber (1958) and Calvin (1509 - 1564) in detail. Despite varying opinions these theorists believe that consumerism is a ‘cage’ and that it controls our actions.

From a psychological stand-point Joan Riviere in ‘Hate, Greed and Aggression’ (1937:4) argues that consumerism signifies that the consumer is good and worthy of love, respect or honor. Advertisements fuel our insecurities and make us feel that we’re not quite good enough, until we buy those new shoes…

Advertising campaign for 'Dune' featured in 'Grazia'

I feel that women’s magazines would be a good contemporary example of this. I am going to focus mainly on ‘Grazia’ magazine. Whilst reading the 2011 press pack that can be found here a section appears called ‘The Power of Grazia’ can be found outline the effect of advertisements in this magazine. One example is of six women reported to have travelled to Paris in order to buy a Louis Vuitton leopard print scarf that was featured in ‘Grazia’ but had sold out in the UK. In order for companies to gain the sort of attention 'Grazia' has to offer, a full colour page advertisement will set you back £15,000.

"Buy this scarf and you'll be just like SJP, Keira Knightly and Lindsay Lohan!"

In terms of Marxism, consumer cultures are the way in which the ruling class divert the masses from developing a class consciousness and rebel. Berger also explores a post-modernist viewpoint. But regardless of theory, the theorists Berger presents to us all seem to agree upon the same basic principles of consumer which are as follows:

• Consumerism promotes narcissism.
  
•  Personal wants and desire outweighs public needs such as community funding.
•  People are unable to distinguish between needs and desires.
•  Consumers are not interested in the product itself, but what it reveals about our lifestyle and social status.

What is fandom?

Of course, when you first hear the word ‘fandom’ most people instantly conjour up the image of a geeky looking middle-aged man dressed up as a ‘Star Wars’ character fawning over first edition comic books and life sized action figures. It’s safe to assume that those types of fans do exist, however; fandom is not as face-value as it appears. Everybody is a fan of something and this is why I feel that the study of fandom is so important.

During my research into fandom I spent a lot of time on message boards for certain shows, particularly Lost and Pretty Little Liars. Admittedly because I am a fan of both of these shows so would understand the posts, but more importantly to discover how fans interact with each other. Some fans might gain more cultural capital due to their vast knowledge, memorabilia or connections on the message board.

The term ‘shipping’ circulates a lot amongst message boards and this focuses on the relationships between characters in the media narratives. Some ‘shippers’ read against the grain and ship the relationship of characters who do not have a romantic connection within the fan-object for example ‘shippers’ creating a relationship between Harry and Hermione within the Harry Potter series. Shippers can express their desire by writing fan fiction, creating fan art and also filming fan videos. This enables them to 're-write' the media text in order to adhere to their opinions.


Until this research, I had no idea that there was such a term for being emotionally invested in the relationships of fictional characters, and upon recent reflection I’ve realised that I’m a ‘shipper’. I may not write fan fiction or draw fan art but I do scream at my television when Aria and Ezra get into an argument on the TV series ‘Pretty Little Liars’. “Make up and just be together!” I shout at the screen with such passion. I also acted the exact same way during scenes between Kate and Jack in ‘Lost’.

Team Jate and proud!

In Matt Hills ‘Fan Cultures’ he concludes that audience members have multiple fandoms that change and negotiate over time due to personal taste and cultural context. For example what I liked as a teenager isn’t necessarily what I’m a fan of now. He also expresses how some fans simply cannot express why they are a fan of something, due to the intense pleasure they recieve from their fan-object. Fans can also act defensively when asked questions about their fan-object, and can sometimes be unwilling to accept criticism towards it.

Why am I such a big ‘Lost’ fan? I just am, okay! Shut up!

Matt Hills - 'Fan Cultures'

Hills, Matt (2002) Fan Cultures. London: Routledge, pp37-59.

In this extract Hills wishes to outline and explore the limitations and difficulties of using the methodology of ethnography when researching fandom. He openings up the article by expressing that fans are often unable to justify why they are a fan of a particular media text stating that the pleasure some fans receive can be so intense that it cannot be articulated accurately to the research meaning collected data is inaccurate. Fans are also known for answering research questions defensively being unable to accept criticism for their favourite media texts.

Hills suggests that the best way to collect research regarding fandom is through auto-ethnography. However, this method is not free of problems. Many auto-ethnographic studies tend to stop self-analysis at a certain point in their studies due to refusing the challenge privileged discourses. Some studies also dismiss the influence of friends, family and cultural context by discussing auto-ethnography as being 100% personal.

Wise (1990) points out that fandom does no flourish in a hostile environment and needs to be linked to cultural value even if only within a household or a small group of friends. (God knows how many hours I’ve spent in the pub discussing Lost...) This suggests that all fandom negotiates between the internal self and cultural context.

Hills concludes the article by conducting his own auto-ethnography. He concentrates on his multiple fandoms and creates a diagram outlining media texts he is a fan of and how they have varied over time. This helps him create patterns of his fandom for example ‘Britishness’, cult following and masculinity.  

In conclusion, fan studies can become very difficult as theory fails to accurately describe experience. Most academic studies regarding fan culture focuses on extreme fans, rather than the every-day average person’s media consumption and preferences. Auto-ethnography being the best method when implemented correctly but theorists will constantly be aware of how they’re portraying themselves to the reader by subtly saying to the reader “I’m not one of those losers who go to conventions!”