February 25, 2007 at Customized Identity Production: Personal Identity Production
When talking about corporate identity, they mean, of course, the identity of consumers in that sector of the market in which the company operates.
The starting point is consumer identity, and it can also be purposefully constructed, as well as corporate. To be a customer of a certain company means to be a carrier of a certain identity.
Henry Jenkins, a media anthropologist from Massachusetts, studies fan movements in America and Japan. He writes that for participants in this system:
When a company constructs its identity, it creates a Brand Identity for itself. When a company constructs the identity of its potential customers, it broadcasts the Branded Identity .
Typically, one can observe how Brand Identity is simply tailored to a consumer identity that has spontaneously emerged. Branded Identity is an identity that is purposefully constructed by a company from scratch and can be the subject of copyright, like any creative work.
Identity may be the same commodity as soap or matches. The consumer feels the need to identify .
The need for identity can be secondary, as a means of entering the community. Identify to be your own. At the same time, it can be an independent value. The need for a new identity may be a reaction to a crisis situation, to external problems that require rethinking one's role and mission.
Traditionally, the Identity Production industry works to satisfy general social needs, which feed the entertainment industry (animation, comics, literature).
For example, Professor Anne Allison, author of Millennial Monsters: Japanese Toys and the Global Imagination, claimsthat modern Japanese aesthetics, which is expressed in techno-animism (human-machine organisms, cyborgs) and polymorphism (transformation and blurring of the boundaries between the body and the mechanism) arose during the collapse and post-war reconstruction of the country. That is why, according to Anne, the fantastic images of Japanese pop culture are so different from American images of the same period. But, now in the USA there is more social and economic instability than in the 1950s and it is experiencing something similar to Japanese sentiments half a century ago. This is what caused such a high popularity of Japanese aesthetics in the modern American market.
The Identity Production industry can also exist independently, without submitting to either the trade in fashionable sneakers or the entertainment industry. It should become service oriented or customized. In other words, to engage in the production of personalized identities - Customized Identity .
The starting point is consumer identity, and it can also be purposefully constructed, as well as corporate. To be a customer of a certain company means to be a carrier of a certain identity.
Henry Jenkins, a media anthropologist from Massachusetts, studies fan movements in America and Japan. He writes that for participants in this system:
"... to consume means to participate, and to participate means to acquire something like a new identity."
When a company constructs its identity, it creates a Brand Identity for itself. When a company constructs the identity of its potential customers, it broadcasts the Branded Identity .
Typically, one can observe how Brand Identity is simply tailored to a consumer identity that has spontaneously emerged. Branded Identity is an identity that is purposefully constructed by a company from scratch and can be the subject of copyright, like any creative work.
Identity may be the same commodity as soap or matches. The consumer feels the need to identify .
The need for identity can be secondary, as a means of entering the community. Identify to be your own. At the same time, it can be an independent value. The need for a new identity may be a reaction to a crisis situation, to external problems that require rethinking one's role and mission.
Traditionally, the Identity Production industry works to satisfy general social needs, which feed the entertainment industry (animation, comics, literature).
For example, Professor Anne Allison, author of Millennial Monsters: Japanese Toys and the Global Imagination, claimsthat modern Japanese aesthetics, which is expressed in techno-animism (human-machine organisms, cyborgs) and polymorphism (transformation and blurring of the boundaries between the body and the mechanism) arose during the collapse and post-war reconstruction of the country. That is why, according to Anne, the fantastic images of Japanese pop culture are so different from American images of the same period. But, now in the USA there is more social and economic instability than in the 1950s and it is experiencing something similar to Japanese sentiments half a century ago. This is what caused such a high popularity of Japanese aesthetics in the modern American market.
The Identity Production industry can also exist independently, without submitting to either the trade in fashionable sneakers or the entertainment industry. It should become service oriented or customized. In other words, to engage in the production of personalized identities - Customized Identity .