Page 215 - Consuming Media

01Consuming Media 10/4/07 11:17 am Page 202

202 Consuming Media

22. Miller (1998: 40ff). Miller does not analyse gifts, however, but studies everyday shopping, mostly
of foodstuffs.

CHAPTER 4 MEDIA IMAGES
1. Goffman (1959/1972).
2. Debord (1966).
3. For an overview of reflexivity concepts, see Fornäs (1995a: 210ff, but also 1994a, 1994b and
1995b). For institutional reflexivity, see Beck (1986/1992).
4. Bolter and Grusin (1999).
5. Becker (2002), Göthlund (2002).
6. For a fascinating discussion of the history of store window display see Leach (1993).
7. For consumption perspectives on Disney, see Smoodin (1994), The Project on Disney (1995),
Wasko (2001), Wasko et al. (2001) and Drotner (2003 and 2004).
8. Cf. Hirdman (2002).
9. ‘Foto-gänget’ may be translated as ‘the Photo Guys’ or ‘the Photo Crew’, but ‘the Photo Gang’
seems best to catch the informal and vernacular character of the Swedish name.
10. Becker et al. (2002).
11. Benjamin (1936/1999).
12. Although digital photography has become more common, at the time of this study (2001) many
consumers still preferred the tactile experience of the print. As one of them said, ‘I really want to
hold the paper prints in my hands, to feel them is part of the experience.’
13. Stewart (1993: 138).

CHAPTER 5 SOUND AND MOTION
1. See statistics in Chapter 2, note 14 above.
2. Both Mix Records and Video 48 Hours belong to chains operating in the Stockholm area. The
name of Mix Records alludes to its varied mixture of genres and styles, though the overall emphasis
is on mainstream pop, rock and dance music. The Video 48 Hours chain offers faithful customers
various membership benefits and discounts. The name reflects that one may keep rented films for
48 hours, but get a 10 per cent discount off the price of the next rented film if one returns a rented
film earlier. Since our ethnographic work in Solna Centre, both chains have been replaced by others
with a more national coverage.
3. Sterne (1997) and Huss (2001: 222); Goffman (1959/1972).
4. Lövgren (2002).
5. See for instance Gray (1992), Morley (1995), Gripsrud (1999).
6. Bolin (1998).
7. Kopytoff (1986).
8. Huss (2002).
9. Huss (2002: 216).
10. Huss (2002: 217).
11. As explained in Chapter 2, the notions of immediacy and hypermediacy derive from Bolter and
Grusin (1999). This is no entirely new phenomenon, but was discerned already in Paul Willis:
Profane Culture (1978), which analysed how motorcycle boys and hippies preferred singles and LPs