PART ONE
Brand, Culture, Action
The titles are revealing: Love Marks; Emotional Branding; Citizen Brand. All are books written in the past several years meant to guide marketers and advertisers on how to navigate the increasingly blurred relationships between advertising, branding, emotion, and politics. In the late 20th and early 21st centuries, it became clear that advertising and brand managers were developing new strategies to capture the attention of ever-more-savvy consumers by appealing to affect, emotion, and social responsibility. Indeed, the definition of the contemporary âconsumerâ does not simply point to what kinds of purchases one might make; more than that, the âconsumerâ is a political category. And, consumption itself is part of what one is, part of the complex framework that constitutes identity. In the contemporary terrain of global, national, and narrow-scale marketing, brands have begun to assume increasingly complex sets of political and activist functions. Within the multidimensional contexts of branding, marketers are increasingly turning to campaigns that encourage consumers toward highly cathected and deeply emotional relationships to brands, so that products bear what is called, in market-speak, âlove marks.â
The chapters in this part explore, from different vantage points, the contradictions that characterize the contemporary relationship of consumer culture, the commodity activist, and branding. Neoliberalism and the technological and cultural apparatuses that support and validate this political economy have hastened critical transformations in the interrelations between the consuming subject and political culture. As such, in order to theorize who, and what, the âconsumerâ is in the current era of neoliberalism and branding, we need different conceptualizations for key terms like âparticipation,â âactivism,â âmainstream,â âauthenticity,â âconsumer,â and âproducer.â Moreover, as our definitions of what constitutes the âpoliticalâ shift under the impact of ânewâ media convergence and mobilized forms of cultural production and circulation, we need new analytics for understanding the contemporary activist subject and the ways in which this subject both creates and experiences âsocial activism.â
The authors in this part thus ask questions such as: What does it mean to âbeâ a consumer activist? How do we craft identities within the context of branding and marketing? What are some of the tensions between consumption behavior and political action within these contexts? The chapters do not arrive at the same set of answers for these questions, and indeed engage in provocative debate about what, and who, a âcommodity activistâ is: Is she a girl who participates in a Dove Soapâsponsored workshop on âself-esteemâ? Should our conception of âcommodity activistâ include media conglomerates like ABC and its efforts to âbuild communityâ? How do we situate âgreen brandingâ within the context of commodity activism? Indeed, is the âcommodity activistâ a brand in and of itself?
The chapters in this part explore these questions by analyzing a series of examples of contemporary commodity activism. To begin, Alison Hearn theorizes the subject position of the âbranded selfâ in contemporary consumer culture to make the argument that within neoliberal modes of governmentality and the symbolic and discursive logics of flexible accumulation and post-Fordism, self-branding emphasizes the instrumental crafting of a notable self-image. Such branded versions of subjectivity, collapsing and fusing with capitalist processes of production and consumption, Hearn argues, produce a âselfâ that is always already interpellated as highly individuated, competitive, self-interested, and image-oriented. This is a âself,â in other words, that effectively undermines any claims to community activism and solidarity. Exploring tensions between these modes of hyperpromotionalism and collective affiliation as they emerge on and through the youth websites âEcorazzi: the latest in green gossipâ and âEcostilleto,â as well as the Disney-owned, green initiative âFriends for Change,â Hearnâs essay probes the consequences of the emergence of the neoliberal branded self for youth culture and community activism, specifically environmentalism.
Next, Sarah Banet-Weiser looks at the ways in which contemporary neo-liberal capitalism offers a new, market-inspired definition of âself-esteemâ for young girls and women through the lens of the Dove Real Beauty campaign. Critics of this campaign frame their concerns within the discourse of hypocrisy; it seems, on the face of it, phony or duplicitous to launch a social activism campaign that targets the beauty industry by usingâand thus promotingâDove beauty products, a key player in the global beauty industry. However, Banet-Weiser argues that within neoliberal capitalism, this kind of strategy makes perfect sense: in a context in which distinctions between âauthenticâ and âcommercialâ politics are blurred through the retraction of public and social services, claims of âhypocrisyâ make sense only if there is a clear distinction between culture and commerce. Commodity activist campaigns such as the Dove Real Beauty campaign are made legible within a broader context of brand culture, in which the âsocial activistâ herself is shaped into a kind of brand.
Laurie Ouellette examines a cultural productâtelevision, and specifically, the media network ABCâthat has historically operated as a private, for-profit industry, tracing the development and transformation of TV in its role as a responsible âcitizenâ in a neoliberal context. Examining the ABC Better Community initiative as a case of the growing role of television as an agent of civic responsibility, Ouellette unpacks the campaign not as a âcorporate ruseâ interested only in promotion and profit but rather as a âtemplateâ for a kind of âgood governmentâ that is both created and sustained by neoliberal governmentality. The transformation of the public sector within the context of neoliberalism reveals how âdo good TVâ adds to the âvalueâ of a media conglomerate such as ABC as it shifts from an overt compulsion to profit to a more âvirtuousâ commitment to social responsibilityâa responsibility that is ultimately realized and sustained through profit.
We close this part with an essay by Jo Littler, who examines a broader expression of brand culture, âgreen branding,â arguing that the discursive ironies of green branding work as a form of commodity activism that encourages individuals to address environmental, social, and political concerns through consumption. Littler reminds us that green products navigate a range of contradictionsâthey may operate as a fetish serving the needs of a small group of people, they may mark the emergence of a liberating form of grassroots democracy-from-below, and they may also epitomize a gross instance of corporate âgreenwash.â Tracing the conceptual relations between âgreen governmentalityâ and âproductive democracyâ through her analysis of a single green product, the nappy, Littler reminds us that green commodity activism as it takes form within neoliberal brand culture remains double-edged. While neoliberal culture insistently contains possibilities for their full emergence, contemporary modes of green activism and branding can paradoxically be forceful in spurring social action toward broader progressive objectivesâregulating corporate behavior, changing popular expectations, and, crucially, pushing beyond green capitalism into green cooperativism.
1
Brand Me âActivistâ
ALISON HEARN
In 2006, Time magazine named âYOUâ person of the year. Arguing that the Internet and social network sites had facilitated the emergence of âcommunity and collaboration on a scale never seen before,â the magazine went on to celebrate Web 2.0âs revolutionary political possibilities, suggesting that the new Web demonstrated âthe many wresting power from the few,â which might then lead to âa new kind of international understanding.â1 But, what kind of power does creating a Facebook profile, posting personal videos on YouTube, designing a cool avatar on Second Life, or âtweetingâ your thoughts hourly constitute? What form of revolution is fomented when individuals follow their favorite celebritiesâ âgreen dos and donâtsâ or vote on which green project Disney should support with 1 million of its billions of dollars? Who is this âMEâ imagined by Timeâs interpellation âYOUâ anyway?
This chapter will examine the versions of selfhood assumed and partially produced by contemporary forms of âcommodity activism,â with reference to three popular âgreenâ websites emanating from, and totally dependent on, the economy of Hollywood celebrity: ecorazzi.com, ecostiletto.com, and Disneyâs friendsforchange.com. I argue that Time magazineâs imperative âYOUâ and its concomitant response âMEâ mark the conflation of selfhood with neoliberal modes of governmentality, the economic logics of post-Fordism, hyperconsumerism, and promotionalism, and marries this conflation to social activism. As the boundaries between work and life erode, broad-based structural, systemic, and collective problems are routinely reduced to issues of âpersonal responsibilityâ and âthe reflexive project of the self,â2 or the constitution of âME,â becomes a distinct form of labor in the guise of self-branding. This chapter interrogates the naturalized elision seen in many contemporary forms of commodity activism between radical individual empowerment, necessary for the market, and collective and communal affiliation, necessary for long-lasting political change. While acknowledging that new media technologies and social networks can enable increased social and ethical accountability on the part of corporations and government, this accountability is never simply given. This chapter insists that, in order for significant social change to take place, dominant templates for meaningful selfhood must also be remade; ultimately, a conceptualization of selfhood tightly bound to the logic of neoliberalism and the post-Fordist market is one of the core components, and central limitations, of âcommodity activism.â
The Empty Self in Consumer Society
American psychotherapist Philip Cushman argues that the âselfâ is a cultural construct, which expresses âthe shared understanding within a community about what it is to be human.â3 Cultural historian Warren Sussman asserts that procedures of self-production and self-presentation have always reflected the dominant economic and cultural interests of the time. Invariably, âchanges in culture do mean changes in modal types of character.â4 In other words, our forms of self-production and self-understanding are deeply conditioned by our economic and social context; dominant modalities of âselfâ are both summoned into being and illustrated in our cultural discourses and institutions. The ways we come to internalize or embody these versions of âselfhoodâ are always contested and in flux, constituting examples of biopower in action. As Michel Foucault has famously written, âNothing in manânot even his bodyâis sufficiently stable to serve as a basis for self-recognition or for understanding other men.â5
During the 20th century, Anthony Giddens argues, we have been âdisembeddedâ from more traditional forms of sociality and community, such as the church or family. As we develop ever more abstract systems, institutions, and technological forms, which pull us out of our cultural, spatial, and temporal situatedness, established modes of identity and selfhood are dislodged and thrown into crisis.6 Cushman describes the terrain of modernity as marked by social absences and a lack of coherence and tradition. We experience this âinteriorly as a lack of personal conviction and worth,â and we embody it âas a chronic and undifferentiated emotional hungerâ that âyearns to acquire and consume as an unconscious way of compensating for what has been lost.â7 Cushman describes the modality of selfhood in the growing postâWorld War II consumer landscape, then, as an âempty selfâ; this self must perpetually consume in order to be filled, organized, and effectively identified, but it can never truly be satiated. As Zygmunt Baumann writes, midcentury consumer society âproclaims the impossibility of gratification and measures its progress by ever-rising demandâ;8 desire is its principle engine.
Under the conditions of postâWorld War II consumer society, the self must personally maintain its coherence over time and does this through the reflexive creation of its own story, or biography: âA personâs identity is not to be found in behavior, norâimportant though this isâin the reactions of others, but in the capacity to keep a particular narrative going.â9 For Giddens, as for Cushman and Baumann, this reflexive project of the self is intimately linked to the processes of consumption. And, while these sociologis...