| 1. |
- Hietanen, Joel, et al.
(author)
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Companion for the videography 'Monstrous Organizing-The Dubstep Electronic Music Scene'
- 2018
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In: Organization. - : SAGE Publications. - 1350-5084 .- 1461-7323. ; 25:3, s. 320-334
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Journal article (peer-reviewed)abstract
- This companion essay contributes to video-based organizational research by critically assessing conventional representational modes of videographic practice and conceptualizing an expressive' ontology for videographic research. We offer an image of thought that foregrounds the creative and powerfully affective potential of both videographic work and spectatorship. To advance this perspective and to inspire future research, we present our videography (length 30 minutes) that integrates various 'expressive' elements in montage form. We use the film to scrutinize the potential of video-based research and several methodological considerations tied to it. In doing so, we argue that video-based organizing of research activities can be seen as monstrous', an entire emergent mode of aesthetic storytelling that comes into being not in capturing' or recording', but rather as an affective production of potentialities.
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| 2. |
- Hietanen, Joel, 1980-, et al.
(author)
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Market practices in countercultural market emergence
- 2015
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In: European Journal of Marketing. - 0309-0566 .- 1758-7123. ; 49:9/10, s. 1563-1588
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Journal article (peer-reviewed)abstract
- Purpose – The purpose of this paper is to contribute to the growing marketing literature that investigates markets as “configurations”, i.e. networks of market actors engaged in market-shaping practices and performances. As this pioneering work has been largely focused on established mainstream markets and industries driven by large multi-national companies, the present article extends practice-based market theorizing to countercultural market emergence and also to unconventional market practices shaping it. Design/methodology/approach – Insights are drawn from a four-year multi-sited ethnographic study of a rapidly expanding electronic music scene that serves as an illustrative example of emergent countercultural market. Findings – In contrast to mainstream consumer or industrial markets, the authors identify a distinctive dynamic underlying market emergence. Countercultural markets as well as their appeal and longevity largely depend on an inherent authenticity paradox that focal market actors need to sustain and negotiate through ongoing market-shaping and market-restricting practices.Practical implications – From a practitioner perspective, the authors discuss the implications for market actors wishing to build on countercultural authenticity. They highlight the fragility of countercultural markets and point out practices sustaining them, and also possibilities and challenges in tapping into them. Originality/value – The study contributes by theorizing the tensions that energize and drive countercultural market emergence. In particular, the authors address the important role of market-restricting practices in facilitating countercultural appeal that has not received explicit attention in prior marketing literature.
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| 3. |
- Rokka, Joonas, et al.
(author)
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Consumer Identity Work: Identity and Consumption
- 2023. - 2'nd
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In: Consumer Culture Theory : 2'nd Edition - 2'nd Edition. - 9781529609257 - 9781529609264 - 9781529614435 ; , s. 15-32
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Book chapter (peer-reviewed)
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| 4. |
- Rokka, Joonas, et al.
(author)
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On positioning videography as a tool for theorizing
- 2018
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In: Recherche et applications en marketing (english edition). - : SAGE Publications. - 2051-5707. ; 33:3, s. 106-121
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Research review (peer-reviewed)abstract
- The purpose of this article is to critically examine videography in the repertoire of visual approaches and delineate a positioning that would be distinctive, inspiring and daring. Notably, we advocate for alternative video-based approaches that expand the field beyond the dominant 'representational mode' by embracing the evocative power of video, and it is only in this way that videographic research could emerge into a self-standing research method without falling under other representational orders of analysis such as being read 'like text' or frozen into photographic 'stills'. In so doing, we develop an image of thought of consumer videographies, where the affective forces of video are harnessed towards 'theorizing' in an emergent rather than descriptive form.
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