The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios…
Abstract
Purpose
The purpose of this paper is to explore how consumers perceive, experience and engage with the art of filmmaking and the industrial film production process that the film studios present to them during their guided film studio tours.
Design/methodology/approach
Drawing on the author’s own film tourist experiences, observations and participatory interactions with fellow visitors at a major Hollywood film studio, this paper takes an autoethnographic “I’m-the-camera”-perspective and a hermeneutic data analysis approach.
Findings
The findings reveal that visitors experience the “authentic” representation of the working studio’s industrial film production process as an opportunity and “invitation to join” a broader filmmaker community and to share their own amateur filmmaking experiences with fellow visitors and professionals – just to discover eventually that the perceived community is actually the real “simulacrum”.
Research limitations/implications
Although using an autoethnographic approach means that the breadth of collected data is limited, the gain in depth of insights allows for a deeper understanding of the actual visitor experience.
Practical implications
The findings encourage film studio executives, managers and talent agents to reconsider current practices and motivations in delivering film studio tours and to explore avenues for harnessing their strategic potential.
Originality/value
Contrary to previous studies that have conceptualised film studio tours as simulacra that deny consumers a genuine access to the backstage, the findings of this study suggest that the real simulacrum is actually the film tourists’ “experienced feeling” of having joined and being part of a filmmaker community, which raises question regarding the study of virtual communities.
Details
Keywords
Markus Wohlfeil, Anthony Patterson and Stephen J. Gould
This paper aims to explain a celebrity’s deep resonance with consumers by unpacking the individual constituents of a celebrity’s polysemic appeal. While celebrities are…
Abstract
Purpose
This paper aims to explain a celebrity’s deep resonance with consumers by unpacking the individual constituents of a celebrity’s polysemic appeal. While celebrities are traditionally theorised as unidimensional semiotic receptacles of cultural meaning, the authors conceptualise them here instead as human beings/performers with a multi-constitutional, polysemic consumer appeal.
Design/methodology/approach
Supporting evidence is drawn from autoethnographic data collected over a total period of 25 months and structured through a hermeneutic analysis.
Findings
In rehumanising the celebrity, the study finds that each celebrity offers the individual consumer a unique and very personal parasocial appeal as the performer, the private person behind the public performer, the tangible manifestation of either through products and the social link to other consumers. The stronger these constituents, individually or symbiotically, appeal to the consumer’s personal desires, the more s/he feels emotionally attached to this particular celebrity.
Research limitations/implications
Although using autoethnography means that the breadth of collected data is limited, the depth of insight this approach garners sufficiently unpacks the polysemic appeal of celebrities to consumers.
Practical implications
The findings encourage talent agents, publicists and marketing managers to reconsider underlying assumptions in their talent management and/or celebrity endorsement practices.
Originality/value
While prior research on celebrity appeal has tended to enshrine celebrities in a “dehumanised” structuralist semiosis, which erases the very idea of individualised consumer meanings, this paper reveals the multi-constitutional polysemy of any particular celebrity’s personal appeal as a performer and human being to any particular consumer.
Details
Keywords
Catherine Demangeot, Amanda J. Broderick and C. Samuel Craig
This paper describes the personal history and intellectual development of Morris B. Holbrook (MBH), a participant in the field of marketing academics in general and consumer…
Abstract
Purpose
This paper describes the personal history and intellectual development of Morris B. Holbrook (MBH), a participant in the field of marketing academics in general and consumer research in particular.
Design/methodology/approach
The paper pursues an approach characterized by historical autoethnographic subjective personal introspection or HASPI.
Findings
The paper reports the personal history of MBH and – via HASPI – interprets various aspects of key participants and major themes that emerged over the course of his career.
Research limitations/implications
The main implication is that every scholar in the field of marketing pursues a different light, follows a unique path, plays by idiosyncratic rules, and deserves individual attention, consideration, and respect … like a cat that carries its own leash.
Originality/value
In the case of MBH, like (say) a jazz musician, whatever value he might have depends on his originality.