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Emotions Industry de Mira Moshe

Emotions Industry

Editat de Mira Moshe
en Limba Engleză Hardback – sep 2014

Observăm în ultimele decenii o mutație fundamentală în structura capitalismului contemporan: trecerea de la o economie a bunurilor materiale la una în care afectele devin principala resursă de profit. Lucrarea Emotions Industry, editată de Mira Moshe, documentează această evoluție prin care sfera privată a individului este externalizată și transformată în „monedă emoțională”. Fenomenul nu mai este unul de nișă, ci a devenit o linie de producție globală ce integrează interesele economice cu nevoile spirituale și sociale ale publicului.

Subliniem modul în care volumul extinde cadrul propus de Emotions as Commodities de Eva Illouz cu date noi din era comunicării mobile și a rețelelor sociale. Dacă lucrările anterioare se concentrau pe intersecția dintre raționalitate și sentiment, Emotions Industry plonjează direct în mecanismele de „branding celular” și „turism romantic”, arătând cum industria stimulează deliberat exagerarea reacțiilor pentru a acumula bogăție simbolică sau financiară. În contextul operei sale anterioare, precum Walk of Shame, Mira Moshe continuă să exploreze dimensiunea socială a trăirilor dificile, însă aici trece de la analiza sentimentului de rușine la o radiografie mult mai vastă a întregului spectru afectiv comercializat.

Structura cărții este riguroasă, debutând cu o analiză a „liniei de producție romantice” și continuând cu impactul vizualului amator în jurnalismul contemporan. Contribuțiile academice incluse demonstrează cum reglarea emoțională, odată un mecanism psihologic intern, a fost recalibrată pentru a servi interesele de piață. Remarcăm, de asemenea, o convergență cu temele din Logic of Feeling de Luke Munn, în special în ceea ce privește modul în care tehnologia redă emoția în format prelucrabil de către mașini, transformând confesiunile intime în active comerciale.

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Specificații

ISBN-13: 9781633215665
ISBN-10: 1633215660
Pagini: 325
Dimensiuni: 178 x 254 x 20 mm
Greutate: 0.68 kg
Editura: Nova Science Publishers Inc
Colecția Nova Science Publishers, Inc (US)
Locul publicării:United States

De ce să citești această carte

Această lucrare este esențială pentru studenții și cercetătorii din sociologie, psihologie și studii media care doresc să înțeleagă cum funcționează economia atenției și a sentimentelor. Cititorul va obține o perspectivă critică asupra modului în care platformele digitale și media ne modelează reacțiile spontane în produse de consum. Este un instrument teoretic solid pentru a descifra mecanismele din spatele realității TV și al marketingului bazat pe influență.

Cuprins

Table of Contents: Introduction: A Profile of the Emotions Industry pp.vii-xv SECTION I: THE EMOTIONS INDUSTRY - THE CONSTRUCTION OF A ROMANTIC PRODUCTION LINE pp.1-2 Chapter 1: Cellular Branding: The Search for Love via the Emotions Industry (Mira Moshe, Ariel University, Israel)pp.3-24 Chapter 2: Romance Tourism: The Ultimate Emotions Industry (Julia Meszaros, Florida International University, FL, US)pp.25-42 Chapter 3: What's The Fighting All About? A Comparison of Reasons for Romantic Conflicts on Television Programs and in the Real World (Amir Hetsroni and Abira Reizer, Ariel University, Israel)pp.43-58 SECTION II: THE EMOTIONS INDUSTRY – FROM PRODUCTION TO CONSUMPTION OF EMOTIONAL CONTENT pp.59-60 Chapter 4: “The Journalism of Astonishment”: Engaging the Audience Emotionally through Amateur Visuals (Mervi Pantti, Department of Social Research, Media and Communication Studies, University of Helsinki, Finland)pp.61-78 Chapter 5: The Emotions Industry in Italy: You’ve Got Mail (Mariolina Graziosi, University of Milan, Italy)pp.79-94 Chapter 6: Eliciting “Kosher Emotions” in Ultra-Orthodox Jewish Women's Film (Matan Aharoni, Department of Communications, University of Haifa, Israel‏)pp.95-116 SECTION III: THE EMOTIONS INDUSTRY – MEDIA CONSUMERS’ CONFRONTATION WITH FEAR AND DEATH pp.117-118 Chapter 7: Flirting With Death: Writing As a Mode of Being-In-The-World on an On-Line Suicide Support Forum (Shirly Bar-Lev, School of Engineering, Ruppin Academic Center, Israel)pp.119-136 Chapter 8: “I Was Really Scared”: A Cross-Cultural Comparison of Reconstructing Childhood’s Fearful Viewing Experiences (Dafna Lemish and Michal Alon-Tirosh, College of Mass Communication and Media Arts, Southern Illinois University, IL, US and others)pp.137-158 SECTION IV: THE EMOTIONS INDUSTRY - THE POLITICS OF EMOTIONS pp.159-160 Chapter 9: Spectacles for Everyone: Emotions and Politics in Argentina, 2010-2013 (Adrián Scribano and Mira Moshe, National Council of Scientific and Technological Research (CONICET), Argentina and Ariel University, Israel)pp.161-180 Chapter 10: The Emotions Industry in Online Romanian Politics: Selling Leadership and Trust during the 2012 Parliamentary Campaign (Florenta Toader, National University of Political Studies and Public Administration, Bucharest, Romania)pp.181-198 SECTION V: THE EMOTIONS INDUSTRY - FASHION AND FASHIONABLE SELF-EXPOSURE pp.199-200 Chapter 11: The Emotions Industry: Celebrities and Self-Confession As a Marketing Strategy (Mira Moshe, Ariel University, Israel)pp.201-220 Chapter 12: The Emotions Industry: Emotions in Fame (Samita Nandy, Centre for Media and Celebrity Studies (CMCS), Canada)pp.221-234 Chapter 13: Simmel’s Theory of Fashion As a Hypothesis of Affective Capitalism (Juhana Venäläinen, University of Eastern Finland, School of Humanities, Finland)pp.235-250

Descriere scurtă

This book deals with the multi-cultural phenomenon of the emotions industry, as well as the cynical manner in which that industry exploits its consumers in various cultures. The book was written in order to illuminate the fact that the culture industry has developed a “new” configuration dominated by the production and distribution of emotions – the emotions industry. The emotions industry is an industry that provides an incentive to exaggerate emotions in order to accumulate social, cultural or economic wealth. It endeavors to create emotional needs by connecting between the realization of these needs and consumer culture; by blurring the boundaries between authentic and simulated emotions, between real and imagined authenticity; by encouraging the externalization of inner worlds for financial gain, generating income or any other result; by revealing emotional worlds that gradually become merchandise, an effective and productive means of promoting economic, political, social or cultural processes. Obviously this is only possible on the condition that we are capable of controlling emotional processes, responding or delaying reactions, opening up and including or closing up and excluding our surroundings. This ability to regulate emotions lies at the foundation of the emotions industry, which shapes the interaction between emotion, cognition and behavior, commercial-economic and private interests, social-cultural and spiritual needs. Thus emotional regulation is transformed into a production line of emotional expectations and reactions, which specializes in creating emotional products and marketing them to the public in the framework of mass consumer culture. Media’s attempts to create and distribute emotional content blur the distinction between “original” and “reproduction”, between “truth” and “pseudo-authenticity,” by activating a broad spectrum of emotional vibrations in the audience. These are ultimately directed towards maintaining an emotional market, exchanging emotional currency for material products or services. The result is active, immediate, and vigorous emotional trading that is taking place on our television, computer, and cell phone screens. Thus individuals are being emotionally stimulated by unceasing, around-the-clock reports of emotional experiences, and in many cases broadcast live before they have been processed or passed through any type of filter. Emotions such as love, hate, courage, fear, pain, pleasure, sadness, pride and shame are no longer a person’s private business, or that of close friends and family, but have become a subject for discussion in other people’s offices, workrooms, living rooms and bedrooms. Furthermore, since in the emotions industry traditional and new media create, maintain and promote emotional trading, individuals have learned to capitalize on and translate their emotional worlds into current financial values. Clearly a process of capitalizing on emotions demands emotional intelligence, carefully monitored emotions and the deliberate use of emotional information for the purpose of directing behavior. However, this is a procedure that deviates from the familiar use of emotions for the purpose of social influence. Thus, as a result of a gradual increase in intensive emotional disclosures and intimate confessions, it seems that we are all involved in seeking the rewards to be gained in including others in our intimate worlds. (Imprint: Nova)