There Is Something about Jena Malone: New Insights into How Celebrities Appeal to Consumers

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the URI link.Although the public demand for celebrities has grown so strong these days that they have without any doubt become an essential part of our everyday lives and contemporary market economy, the marketing literature has paid scant attention to them beyond their mere potential as product endorsers. Therefore, this paper explores how celebrities capture our attention and appeal to us personally. In doing so, it seeks to explain in particular how and why consumers become emotionally attached to one celebrity, but remain indifferent to many other equally talented, interesting and attractive ones. Drawing on introspective insights from the author’s own personal fan relationship with the film actress Jena Malone and consumer responses from previous ethnographic studies of celebrity fans, the paper examines what the substance of a celebrity is and how it appeals to the individual consumer. The study finds that the substance of a celebrity consists of four key human brand attributes through which s/he appeals to consumers as a) the performer, b) the real person underneath the performer, c) the tangible manifestation of both through products, and c) the social link to other consumers

Vinyl Records: The Future of Consuming Music?

The file attached to this record is the author's final peer reviewed version.Despite having been deemed to be obsolete nearly 30 years ago, vinyl records are enjoying since 2011 a major revival and seem to change the way we listen to music again. This paper uses an ethnographic approach to explore the nature and extent of the growing popularity and deep resonance with today’s consumers. As nearly 48% of vinyl consumers these days are under the age of 35, attention is also paid to examining whether the resurgence of vinyl’s popularity is a sign for another dramatic evolution in the music marketplace. We found that young consumers experience the material ritual of handling and playing vinyl records as “new” and exciting, which are also seen as technologically superior. We also found that many consumers have felt exploited, oppressed and betrayed by the digital music providers and, hence, turned to vinyl as a music format that is seen to be dependable, trustworthy and personal

From ‘Spiral Scratch’ to PledgeMusic: The Birth & Rebirth of Punk Culture’s Entrepreneurial Spirit

Punk has come a long way from its prematurely declared death in the early-1980s to being not-so-dead after all in the 1990s to still being ‘alive, loud and kicking' today. This paper examines how punk culture's inherent entrepreneurial DIY spirit has kept it alive after returning to its underground origins. While much has been made in the recent literature about social media and the digital revolution's role in democratising the access to the marketplace, (self-)branding, entrepreneurship, crowdsourcing and co-creation of products and meaning have been at the heart of punk culture since its beginning - and long before people ever dreamed of digitalisation. Buzzcocks' self-funded EP ‘Spiral Scratch' is widely credited with being the first independent and crowdfunded record ever to hit the marketplace. Although most classic punk bands were actually signed by major record labels, numerous independent record labels have followed the ‘Spiral Scratch' business model ever since. In recent years, after being dropped by their labels, many of those bands have moved to PledgeMusic, not only to crowdfund and sell their new albums, but also to revive the entrepreneurial spirit of the past that has truly 'democratised' the marketplace. Interestingly, PledgeMusic's most popular music format is vinyl

Learning Film Magic from the Professionals: The Film Studio as a Tourist Destination

The phenomenon of film tourism is about as old as the movies themselves. Many consumers have been inspired by their favourite films to travel either to the locations they have seen on screen or to the locations where they have been filmed. Nevertheless, Connell (2012) argues that the film tourism literature is still in its early stages and lacks a decent understanding of how film tourists perceive, experience and relate to tourist destinations in general. And this is particularly true for the film studio as a tourist destination. 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 a photographic essay approach to explore from an autoethnographic ‘I’m-the-camera’-perspective to explore how consumers experience and engage with the magical world of film and filmmaking that film studios present to them in their guided studio tours. The study finds that the ‘authentic’ nature of the film studio tour appeals in particular to amateur filmmakers, who seek informative insights into the film business and to share their knowledge and experiences with other like-minded amateurs and professionals

Learning from the Professionals: Film Tourists' "Authentic" Experiences on a Film Studio Tour

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.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. 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. 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’. 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. 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. 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 questions regarding the study of virtual communities

Getting Lost ‘Into the Wild’: Understanding Consumers’ Movie Enjoyment Through a Narrative Transportation Approach

As consumers enjoy watching movies for many reasons, this paper takes an existential-phenomenological perspective to discuss movie consumption as holistic private lived experiences. By using interactive introspection, the two researchers examined their own individual private consumption experiences with the recently released movie Into the Wild (US 2007) as a complex tapestry of interrelated factors. The introspective data indicates that a consumer’s personal engagement with the movie narrative, its characters and underlying philosophy is of particular importance for one’s enjoyment of the movie. This allows for and even enhances the consumer’s temporary feeling of complete immersion into the movie’s imaginary world

’The Book of Stars’: Some Alternative Insights into Celebrity Fandom

While consumers have had a keen interest in the works and private lives of celebrities since the dawn of the Hollywood star system in the early 1920s, some consumers experience a significantly more intensive level of interest and admiration for a particular celebrity and, subsequently, become what are commonly known as fans. However, scant attention has been paid to how the relationship between fans and celebrities expresses itself in everyday consumer behaviour. This paper is taking an existential-phenomenological perspective to discuss fan behaviour as a holistic personal lived experience from a fan’s point of view. By using subjective personal introspection, the lead author provides hereby insights into his private lived consumption experiences as the fan of the young and talented actress Jena Malone, which were obtained and recorded as contemporaneous data over a period of 15 months. In doing so, the paper demonstrates how drawing on narrative transportation theory may provide a deeper understanding on the nature of celebrity fandom. The study found that a consumer’s fan experiences derive from one’s personal engagement with the celebrity’s artistic work and public persona, which is essentially the consumer’s personal intertextual reading of what s/he perceives to be relevant and reliable media texts

Getting Lost ‘Into the Wild’: Exploring the Role of Narrative Transportation in the Experiential Consumption of Movies

Although it is obvious that consumers enjoy watching movies for many reasons that range from mere short-term entertainment to the complete personal immersion into the movie narrative, a full understanding of the experiential consumption of movies and its contribution to a consumer’s subjective quality of life is still lacking. Thus, this paper takes an existential-phenomenological perspective to provide some alternative insights into consumers’ holistic movie consumption experiences. By using a form of interactive introspection, the two researchers examine and discuss hereby their own individual private consumption experiences with the recently released movie Into the Wild (US 2007) as a complex tapestry of interrelated factors. The introspective data indicates that a consumer’s personal engagement with the movie narrative, its characters, atmosphere and underlying philosophy is of particular importance for one’s enjoyment of the movie, as this allows for and even enhances the consumer’s temporary feeling of complete immersion into its imaginary world. The intensity and nature of an individual’s experienced transportation into the movie narrative is hereby determined less by socio-demographic variables such as age or gender, but by one’s own very private motives and intimate involvement with the holistic movie consumption experience

Confessions of a Movie-Fan: Introspection into a Consumer’s Experiential Consumption of ‘Pride & Prejudice.'

As people enjoy movies for various reasons, this paper is taking an existential-phenomenological perspective to discuss the consumption of movies as a holistic personal lived experience. By using subjective personal introspection, the author provides hereby insights into his personal lived consumption experiences with the recently released movie Pride & Prejudice. Although the introspective data suggest that a complex tapestry of interconnected factors contributes to a consumer’s movie enjoyment, this study found a consumer’s personal engagement with the movie narrative and its characters to be of particular importance. This personal engagement not only allows for a momentary escape from reality into the imaginative movie world, but is even further enhanced through intertextuality, by which the consumer connects the movie to one’s personal life experiences

Event-Marketing as Innovative Marketing Communications: Reviewing the German Experience

As a result of significant changes in their marketing environments and in consumer behaviour, marketers are confronted with the decreasing effectiveness of their classic marketing communications (Kroeber-Riel 1984) and, consequently, in need of new ways to position their brands in consumers’ minds. Because nothing is more convincing than personal experiences (Nickel 1998), event-marketing creates new brand-related realities by staging marketing-events with which consumers interact. This would result in an emotional attachment to the brand (Zanger and Sistenich 1996). However, while event-marketing as an experience-oriented marketing communication strategy has become very popular among German marketing professionals and academics, researchers and marketers in English-speaking countries have widely ignored this innovative communication strategy so far due to a different understanding of the term (Cornwell 1995). Nevertheless, some European companies have successfully launched in recent years their first event-marketing campaigns in Ireland, the UK and the US, suggesting a much broader appeal than previously recognised. Thus, this paper is introducing event-marketing to an international audience by outlining its constitutive features and discussing its role in marketing communications, based on the lessons learned from the German experience, that are presented using mini-case studies