James Cronin’s research while affiliated with Lancaster University and other places

Nietzsche invites us to turn our focus to how subjects seek out what is average rather than what is authentically independent. For marketing theory, this means recognising that while the desire for autonomy and self-determination functions as a seductive and collective narrative for consumer culture generally, it inevitably becomes denatured and delimited to what each individual consumer finds to be most convenient, credible, and practical. Using a Nietzschean toolbox, this paper diagnoses a contemporary malaise in the process of ‘commodified self-overcoming’, whereby subjects are fed the mass-mediated fantasy that they can overcome the symbolic similitude of the majority while remaining comfortably part of the social ‘herd’. We discuss this process using three illustrative archetypes: the inhuman ‘BIG Zombie’, the transhuman ‘Cyborg’, and the all-too-human ‘Slacktivist’. These archetypes reveal how the prospect of overcoming the self and all of its human trappings functions as a core fantasy for consumers, albeit one that is paradoxically produced and supplied by market mechanisms that perpetuate a lasting humanism. We explore the notion of ante-humanism and conclude with implications for the nascent tradition of Terminal Marketing.

In this paper, we challenge the prevalent idea that anti-consumption functions as an ideological act of antagonism. We enlist the work of the late cultural theorist Mark Fisher to account for the reflexively impotent (anti-)consumer, a politically hollowed-out and knowingly helpless subject endemic to the futureless vicissitudes of semiocapitalist consumer culture. Drawing on netnographic data and interviews with ‘digital detoxers’, we explore how gestural – rather than transformational – anti-consumption emerges through individuals’ reflexive awareness of their political inertia, the lack of collective spirit to bring about improved conditions, and their perpetual attachment to market-based comforts and conveniences. Our analyses reveal three features that underpin the reflexively impotent (anti-)consumer’s resigned acceptance of the reigning political-ideological status quo: magical voluntarism, pragmatism and self-indulgence. In the absence of any unifying and politically-centred solidarity projects, mere gestures of resistance are undertaken towards managing personal dissatisfactions with – instead of collectively transforming – their structural conditions.

When consumers become fans of celebrities, they can form intense emotional attachments that resemble a kind of love. Although the love felt for celebrities is based on one-sided parasocial relationships, fans nevertheless experience a trauma that they consider to be very real when these illusory relationships end. We explore how fans manage and perform their break-up with a beloved celebrity brand following public allegations of wrongdoing. Building on Giddens’ theorization of loveshock – which encapsulates the disorienting after-effects of falling out of love – we propose the new concept of para-loveshock. Para-loveshock is performed socially and discursively through three fan practices: grief enfranchisement; flagellation; and indignation. Recognizing how fans perform and legitimize their trauma through these practices helps to sensitize managers to the importance of consumer identity work following celebrity transgressions. This has implications for how damage control efforts are planned and how managers engage with fans when responding to celebrity transgression.

We provide a critical reading of plastic in consumer culture highlighting its furtive omnipresence and supporting role in enabling the consumption of countless products, services, and brands, including many previously identified marketplace icons. We introduce the term “passengerial icon” to explore how the iconicity of plastic is often characterised by its unobtrusive and inconspicuous presence in consumers’ lives. Like a passenger, plastic most typically accompanies consumers on various experiential journeys rather than drives them. Drawing upon Leder’s concept of dys-appearance, we discuss the “absent presence” of passengerial icons as they tend to fade from consumers’ awareness, remaining present but unseen and unthought about until something about them appears to dysfunction. We discuss the dysfunctional appearance of plastic as catalysed most dramatically by environmental and health consequences. Though plastic’s dys-appearance affects society broadly, it is often hermeneutically and fetishistically handled by individuals through precautionary consumption adjustments rather than collective political action.

This paper reproduces an interview from June 2021 with Professor Søren Askegaard, president of the international Consumer Culture Theory Consortium. In the interview Søren discusses the current status of Consumer Culture Theory in the academy, the challenges facing researchers of consumer culture, and outlines some of his thoughts on possible future directions for the field. The wide-ranging interview touches on issues including emerging consumer cultures, the politics of those consumer cultures, and the challenges of developing responses to the climate crisis and global inequality through CCT scholarship.

This paper invokes Redhead’s concept of claustropolitanism to critically explore the affective reality for consumers in today’s digital age. In the context of surveillance capitalism, we argue that consumer subjectivity revolves around the experience of fidelity rather than agency. Instead of experiencing genuine autonomy in their digital lives, consumers are confronted with a sense of confinement that reflects their tacit conformity to the behavioural predictions of surveillant market actors. By exploring how that confinement is lived and felt, we theorise the collective affects that constitute a claustropolitan structure of feeling: incompletion, saturation and alienation. These affective contours trace an oppressive atmosphere that infuses consumers’ lives as they attempt to seek fulfilment through digital market-located behaviours that are largely anticipated and coordinated by surveillant actors. Rather than motivate resistance, these affects ironically work to perpetuate consumers’ commitment to the digital world and their ongoing participation in the surveillant marketplace. Our theorisation continues the critical project of re-assessing the consumer subject by showing how subjectivity is produced at the point of intersection between ideological imperatives and affective consequences.

In this article, we integrate Nietzsche’s visions of self-overcoming with a Žižekian toolbox to explore how ‘market-based progress’ is upheld through a fabric of ideological fantasies. Through an analysis of Huel, a nutritionally complete British food brand aligned with progressive and techno-utopian discourses, we reveal a fantasmatic structure centred on pragmatism, the search for unassailable truth and continuance of a prehistoric legacy. These fantasies function as illusory support for acceptance that humanity’s great overcoming is singularly achieved through market logic and ethos. Here, a fetishistic inversion centres on subjects believing that the detached spectatorialism of consumption is closer to the act of the Nietzschean ‘Overhuman’ than it is to its inverse, the ‘last human’. This article provides the parameters for how ideological fantasy insulates the market from its material deadlocks and concludes with a conceptualization of the post-sovereign consumer’s subjectification along the fantastical contours of market-based progress.