Browsing Creative Encounters (ICM/IKL) by Author "Moeran, Brian"
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The Portraval of Beauty in Woman's Fashion MagazinesMoeran, Brian (Frederiksberg, 2009)[More information][Less information]
Abstract: The primary contents of women’s fashion magazines are fashion, beauty and health. This paper sets out to explore the ways in which international fashion magazines such as Elle, Vogue and Marie Claire portray feminine beauty in textual and advertising matter and how their readers react to such portrayals. Beauty is analysed as grooming practice, and make-up as the prime symbol of the self and its many facets in social interaction. The paper looks at the different kinds of ‘face’ that magazines invite their women readers to put on and suggests that they – and their advertisers – adopt a ‘technology of enchantment’ as a means of exercise control over them. Magazine and advertising language is imbued with ‘magical’ power, and the paper shows how the structure of advertisements closely parallels that of magical spells used in certain healing rituals. It concludes by using magazine reader interviews to learn the extent to which women do or do not believe in such ‘spells’ and whether they are encouraged to buy into the ‘beauty myth’. URI: http://hdl.handle.net/10398/7817 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: This working paper examines the role of international book fairs in the global publishing industry, and in particular their relation to the publishing cycle, chain and field. It outlines some relevant historical features, as well as main functions, of fairs, before describing in detail the daily activities of an independent academic publisher at the Frankfurt Book Fair. Analysis of the book fair takes place at two levels. The first focuses on the importance of visibility in a fair’s timing and location, as well as in the location and size of participants’ stands, inclusion in the fair catalogue, business deals, and social gatherings. The second examines the book fair as a tournament of values, or ritual tournament, in terms of its framing, membership and currency. The argument presented is that the currency of copyright is not dissimilar to a form of gift exchange and that, as a result, a book is both commodity and gift. It is in the shadow of the gift that the commodity of the book is produced, distributed, sold and read. URI: http://hdl.handle.net/10398/7779 Files in this item: 1
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Moeran, Brian (, 2009)[More information][Less information]
Abstract: This working paper examines the role of international book fairs in the global publishing industry, and in particular their relation to the publishing cycle, chain and field. It outlines some relevant historical features, as well as main functions, of fairs, before describing in detail the daily activities of an independent academic publisher at the Frankfurt Book Fair. Analysis of the book fair takes place at two levels. The first focuses on the importance of visibility in a fair’s timing and location, as well as in the location and size of participants’ stands, inclusion in the fair catalogue, business deals, and social gatherings. The second examines the book fair as a tournament of values, or ritual tournament, in terms of its framing, membership and currency. The argument presented is that the currency of copyright is not dissimilar to a form of gift exchange and that, as a result, a book is both commodity and gift. It is in the shadow of the gift that the commodity of the book is produced, distributed, sold and read. URI: http://hdl.handle.net/10398/7795 Files in this item: 1
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Abstract: To edit is to make a choice, or series of choices. Will I write a rough draft of this essay in longhand, or hammer it out on my computer? If the latter, what font shall I use? Times New Roman, Book Antiqua, or Garamond? Once I get started, what style shall I adopt: realistic, confessional or impressionistic; or a combination of all three (Van Maanen 1988)? Should I try to impress with ‘learned scholarship’, or should I merely outline in conversational English a few thoughts based on my own experiences?... URI: http://hdl.handle.net/10398/8337 Files in this item: 1
61 - BM The craft of editing (2).pdf (156.8Kb) -
Moeran, Brian (, 2009)[More information][Less information]
Abstract: This paper draws on extensive fieldwork in a wide range of creative industries to argue that creativity itself is under-theorised, and should be considered as both enabled and inhibited by numerous constraints guiding the choices made by creative personnel during the course of their work. Six sets of constraints are outlined in the context of different forms of cultural production: material, temporal, spatial, social, representational and economic. It is argued that the performance of creative work is similar in part to Turner’s concept of ‘communitas’, when an aura of individual creativity is passed to other participants. This kind of liminal space is also found in creative industry ritual events, which enable participants to communicate on an equal footing, and gain knowledge and connections that they can then use at work in their normal everyday lives. These in turn may have a long-term effect on cultural production, creativity and constraints. URI: http://hdl.handle.net/10398/7951 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: This essay examines embedded structural tensions in the organization of Japanese advertising production. Tensions arise from the fact that an advertising campaign, like many other creative products, is produced by motley crews of personnel from both within an agency contracted to carry out the campaign (an account team) and freelance professionals hired to assist in the creative work required (a production team). The structuring of advertising account teams in Japan, Europe and the USA depends on how accounts are distributed by advertising clients. The amount and kind of creativity displayed by photographers depends on advertising and the structure of fashion magazine publishing. Creativity itself thus depends on an unspoken set of institutional power relations that enables individuals to compete for recognition as being creative . URI: http://hdl.handle.net/10398/7777 Files in this item: 1
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Moeran, Brian (, 2009)[More information][Less information]
Abstract: This paper describes and analyses preparations for the holding of an anthropologist potter’s one-man show in a Japanese department store. Based on participant observation, it describes in detail the strategic planning of, and preparations for, the fieldworker’s own pottery exhibition in a department store located in northern Kyushu, the southernmost of Japan’s four main islands and home to a long tradition of porcelain and stoneware production. The paper focuses on the main players in the ceramic art world; the social interaction underpinning an exhibition; the conflicting ideals of ‘aesthetics’, display and money (pricing); and the ways in which different sets of values, and evaluating processes, affected the reception of the author’s work. It concludes by developing a theory of values in the light of recent writings in the field of cultural economics. URI: http://hdl.handle.net/10398/7942 Files in this item: 1
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Skov, Lise; Skjold, Else; Moeran, Brian; Larsen, Frederik; Csaba, Fabian F. (, 2009)[More information][Less information]
Abstract: Not so many years ago, the fashion industry was called a ‘sunset industry’, and was deemed to have no future in the most developed countries. But recently, the New York Times has suggested that ‘the sun never sets on the runway’ (Wilson, 2008). Under this heading the article described the diffusion of fashion week organizations, with accompanying fashion shows, that are no longer limited to a handful of fashion capitals, but are spreading to small-country capitals and medium-sized cities all around the world. URI: http://hdl.handle.net/10398/7943 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: Fragrance and perfume connect with our most basic and primitive window on the world – our sense of smell. Animals use their sense of smell to find food, sense danger and mate. So, too, do human beings. Mothers and their babies bond through smell. Smell triggers memories buried long in our unconscious, probably because our sense of smell is linked directly to the limbic system, the oldest part of the brain, which is the seat of emotion and memory. Throughout the ages in Western civilization, fragrance has been used to communicate spirituality, passion, and both masculinity and femininity. URI: http://hdl.handle.net/10398/7772 Files in this item: 1
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Anthropology, Fieldwork and Organizational EthnographyMoeran, Brian (København, 2007)[More information][Less information]
Abstract: This paper looks at the relationship between anthropology, fieldwork and what is referred to as ‘organizational ethnography’. It starts by distinguishing between fieldwork, which is a method of conducting qualitative research, initially in the discipline of anthropology, and ethnography, which is the writing up of that research. The paper makes use of the author’s fieldwork experiences in a Japanese advertising agency to illustrate a number of features that define fieldwork as a methodology. It argues that it is the shift from participant observation to observant participation that enables the fieldworker to move from front stage to back stage in the study of an organization, and thereby to gain information and knowledge that is otherwise available only to insiders. Fieldwork, Anthropology, Organizational Ethnography, Observant Participation URI: http://hdl.handle.net/10398/7038 Files in this item: 1
wp 2007-2.pdf (264.9Kb) -
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Abstract: This paper focuses on a hitherto unremarked aspect of cultural production – smell. It first outlines the historical background of Japanese scent culture, before moving on to describe in detail the processes by which incense is produced in Japan, and the various challenges facing a manufacturer with regard to consistency of raw materials, kneading blended materials, and drying formed incense sticks. It then concentrates on a group of incense manufacturers located on the western coast of Awaji Island in the Inland Sea of Japan, and suggests that it is access to, and successful management of, olfactory knowledge that enables a sub-contracted supplier to become independent by producing his own incense brands. The paper concludes by drawing a series of parallels betweenthe symbolic and social uses of incense in contemporary Japanese society, and thus underscores the connection between olfaction and transition noted for many other societies. URI: http://hdl.handle.net/10398/6945 Files in this item: 1
wp 2007-1.pdf (299.4Kb) -
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Abstract: This working paper – written for inclusion as a chapter on Japanese society, to be published in Chinese by the Beijing University of Foreign Studies later in 2011 – looks at popular culture as a form of cultural production. It argues for the need to study popular cultural forms like advertisements, ceramics, fashion magazines and folk art as both products and as processes of design, manufacture, distribution, appreciation and use, which must all be taken into account. Precisely because popular cultural forms are both cultural products and commodities, they reveal the complementary nature of the two categories of culture and the economy. The paper outlines and analyses the different ways in which social, cultural, symbolic and economic capital are converted by those participating in advertising, ceramic, fashion magazine and folk art worlds, and suggests that popular culture may best be seen as a name economy. URI: http://hdl.handle.net/10398/8252 Files in this item: 1
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Moeran, Brian (Frederiksberg, 2011)[More information][Less information]
Abstract: This working paper is a case study about the development of a faience product line in Royal Copenhagen and illustrates several aspects of how, at what stages of development, and by whom, cultural products in general are evaluated. Three theoretical issues emerge. One concerns the constraints imposed upon design and production by the use of materials and, to a lesser extent, technology. Another argues that product development has to take place within a particular brand and genre – in this case, those of Royal Copenhagen. A third reveals the way in which the design and manufacture of a particular cultural product had to be negotiated within a particular organizational world embracing both management and workers, with differentiated skills. These issues lead to a more general discussion of craftsmanship and storytelling. URI: http://hdl.handle.net/10398/8338 Files in this item: 1
62 - BM Royal Copenhagen.pdf (341.7Kb)
Now showing items 1-13 of 13