Emily Rachel Smith

14034604

COM3063

Advertising and Consumption

Title:

Using examples critically examine Raymond Williams’ claim that ‘Advertising is a magic

system’.

Submission Date:

26th January 2017

Word Count:

3120

I declare that this assignment is my own work and that I have correctly acknowledged the

work of others. This assignment is in accordance with University and School guidance on

good academic conduct (and how to avoid plagiarism and other assessment irregularities).

University guidance is available at www.ncl.ac.uk/right-cite

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Advertising is delivered to subjects through communicative devices such as newspapers,

magazines, the internet, radio, direct mail or print media. Raymond Williams (2000) claims

that advertising works like a ‘magic system’ and is understood as an ‘illusion’ in a capitalist

consumer society. Commodities are transformed into illusionary signifiers, where they work

like ‘magic’ for a culture’s interpretation. Williams’ claim is analysed, for a comprehensive

understanding of advertisements and by extension have a substantial effect on both our

everyday personal and social lives. Advertisements work as cultural mediators to guide our

perceptions of who we are through discursive relationships between objects and things

(Jhally, 1990)

In order to critically inspect that advertisements work as ‘magic’, I will be drawing upon

interdisciplinary approaches to study commodity fetishism, psychoanalysis and

individualism. The importance of the concepts to this particular study derives from the notion

that consumer identities and advertisements are ever-changing in their practices; targeting

consumer’s fetishes, psyche and individualism. Similar to cultural goods, ideologies and

consumption practices are always transferable and fluid in their movements for the consumer

(McKracken, 1986). This notion is reinforced, as meanings and habits of the consumer are

inter-changeably placed in the dynamic forces of a post-modern culture (Sturken and

Cartwright, 2009). Postmodern and poststructuralist examples are interrogated as advertising

works in an imagined version of capitalism (Williams, 2000).

Cultural groups and identities are transferred within advertisements, distinguishing one group

from the next through class, gender, age, sexuality, status and occupation. Specific consumer

groups then direct subjects to relate to products and brands in accordance with what is most

applicable to their identity group (Miles, 1996). This analysis delivers a conceptual debate

alongside young, female, jewellery consumers whom purchase online products from

AshleyBridget.com. Previous research on the jewellery fashion business, suggest that female

consumers are the main target for jewellery marketers; consuming jewellery can provide a

since of enhanced beauty and elegance, subsequently enriching female’s sense of power,

status and identity when wearing it (Hae-kyung, 2011). Similarly, niche jewellery stands out

to consumers, adorning their unique and individual identity. This is organised through value,

identity and brand identification, to measure which jewellery is important for each ‘type’ of

consumer (Dauriz et al, 2014). Theoretical knowledges will be assigned to consumer

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identities whom purchase Ashley Bridget jewellery, where properties are observed to attract

the female jewellery consumer

Ashley Bridget jewellery is examined because communication, culture and advertising

research is limited when concerning affordable jewellery and consumer identities. This is

important, as Ashley Bridget differs from other high-street, jewellery fashion merchandises

such as Pandora or Swarovski - through its unique set of values, meanings and style. More of

a deeper level of analysis will be conducted when discussing this dichotomy between

negative and positive features of advertising research. Furthermore, particular reference will

be made to the way in which Ashley Bridget Jewellery facilitates the expression of a

particular identity.

This embodiment is understood through description on the Ashley Bridget website:

“Ashley Bridget embodies the youth, energy, and passion of women all around the world. No

outfit is complete without great jewelry. We believe that true beauty comes from within - it

comes from your heart, mind and the way in which you express yourself. Our jewelry is made

with you in mind. Every piece of Ashley Bridget is a work of art that accentuates the

charismatic charm every girl encompasses. Embrace yourself, your style and dare to show it

off.”

(Ashley Bridget, 2016)

This clearly demonstrates unique, individual jewellery which targets the consumer’s identity.

Moreover, the proceeding concepts will focus on female consumers, whom embody culture

through purchasing Ashley Bridget jewellery. This is important to examine, as it is suggested

that jewellery markets are fluid in the sense that they change, adapt and grow consistently in

accordance with the ever changing marketplace. Business demands are the focal point for

such changes, to keep up to date with cultural and personal styles (Dauriz et al, 2014). The

following section will implement previously discussed cultural styles, in relation to the

discussion of the mode of production, in a fetishized culture.

Karl Marx (cited in Jhally, 1990) investigated capitalism and society through the mode of

production. Thus, information and meanings are “produced, distributed, exchanged and

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consumed” (Jhally, 1990, p.26). The ‘use-value’ is determined within the production process

of objects, where person-object relationship, or ‘objectification’ that am individual has with

commodities is represented. ‘Objectification’ is understood as a necessity, for individuals to

have an ‘experience’ through the relationship with an object. Appardurai (2003) notes that a

social relation is fixed within the objects meaning. Humans need objects to understand

society, culture and themselves, whilst objects require humans to have meaning placed in

their existence (Jhally, 1990). Furthermore, this argument is emphasised by Jhally (1990)

who notes that that objects assist humans in terms of their understanding of society, culture

and ultimately themselves. Patterns of symbolic meanings embody the ownership of the

object, where consumers construct availability to symbolic and material resources.

Leading on from this, Jhally (1990) claims that ‘objectification’ and symbolic meanings are

experienced through ownership of an object. Having ownership of material goods promptly

gains instant gratification through valued wants and needs. Wants and needs become blurry

and narrow, as subjects are only interested in consuming persistently, rather than considering

the process of how they were made in production. However, when purchasing Ashley Bridget

jewellery, the female consumer is provided with information on the website, concerning the

care and quality of the craftsmanship, within the production process. It could be argued that

objectification of Ashley Bridget jewellery is absorbed through the experience of navigating

the website and being informed of the artistry production, as well as purchasing the object.

Furthermore, the ‘use-value’ of objects occurs when people become highly involved and

expand objects original value when on the market. The use-value of a product then yields the

object as a commodity. The use-value of a commodity becomes larger than intended when

transferred to the consumer. Marx (cited in Jhally, 1990) describes this process as

‘commodity-fetishism’. The magic of fetishism is inhabited into a social reality when

commodities are met with the consumer. Capital is not seen as an illusion, as the reality of

production is evident. Fetishism therefore occurs, when commodities are turned into ‘magic’

through the discourse of advertising (Williams, 2000).

Figure 1 illustrates a youthful female model, in the city nightlife, wearing an Ashley Bridget

bracelet. This transform’s meanings for the consumer to relate and identify to themselves in a

socio-cultural context. The semiotics within the advert are used as a rhetorical method to

create a discourse of beauty, elegance and self-control through body language (Roberts,

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1998). Viewing the image may place the reader into the models position, then, transforms the

advertisement into ‘magic’ through the images semiotic components working as a discourse

of fetishism, and objective desire for the reader.

Figure 1 (Ashley Bridget, 2016)

Commodity fetishism is targeted by advertisers, whom must adhere to certain properties and

components in order to target the consumers psyche’. Choices are made, which feed off

consumers’ unconscious drive - where the consumer is questioning the self, through

appearance. Through having a choice of commodities, one has a sense of freedom within the

development of the self (Gabriel, 2015). Material access and resources are always available

within these choices. Problematically, subjects may become anxious and alienated when

questioning themselves through choices made. Not only choices concerning objects, but also

lifestyle and social choices (Gabriel, 2015). Hence, it is important to discuss the structure of

consciousness when advertising in consumption practices have such an impact.

The Freudian theory of the human psyche and unconscious mind focusses on the ‘divided-

self’ within a society. The divided self being psychologically influenced through power and

control. The most appropriate element of Freud’s (1923) ‘structural model’ is that of the

‘super-ego’. The superego is determined by the ego - where narcissistic tendencies are met

from the egos wants, needs, aims and goals. Self-gratification is therefore met through the

superego (Freud, 1923). The applicability of Freud’s theory to this study is supported by

Lasch (1981), who argues that advertising works within the components of the ego and

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superego, as sellers target the emotional wants and needs that a person mentally requires.

Thus, expectations are high within an individual’s superego. Advertisers heighten those

expectations and enhance them on a desirable level. The self is gratified after discourse of

society and culture is represented in the advertisement. Consumerism has therefore become

the indication of our society and culture, where behaviours are mentally and psychically

adapted to an objective capitalist system (Rothman, 1980) as a means to achieve a desirable

result within their emotional ego.

Psychoanalytical theory provides an understanding of where females and other groups are

situated within a social and cultural sphere. Advertiser’s target consumers through the

emotional framework of wants and desires within the self (Rothman, 1980). This concept is

useful in regards to the analysis of Ashley Bridget jewellery, as advertisers target young

women’s superego, by transforming the self through external appearance. As figure 1 shows,

the identity of the young woman can relate to other female identities in a socio-cultural

system. Psychologically tapping into the reader’s superego, they too can construct their

identity through adapting desires after wants (Banister and Hogg, 2004).

The construction of one’s identity is referred to by Jacque Lacan discussion of the mirror

stage of identification. Here, reflection and recognition of the self in the mirror stage

acknowledges his or her appearance in a reality of their own. This natural reality proceeds

itself by forming a character surrounding the ego (Lacan, 1990). After mentally processing

the ego with acknowledgement of the self, one takes the form of the social self. The

construction of the social self is developed over time through the psychodynamics of society

and culture around them.

Having a choice of the ‘self’ constructs internal and external desires which fit amongst one’s

identity. For one to ‘identify’ themselves, they will associate with the possessions and

belongings they own (Banister and Hogg, 2004). Therefore, it becomes a concern to the

individual who creates their identity through choice of the self, when advertisers are aiming

to psychologically contribute to one’s identity construction. As an individual has choices over

their own lives, they have a sense of control, security and freedom. This freedom co-exists

alongside not having control (Gabriel, 2015). In this, I refer to consumption devices and the

controlled liberating feeling when constructing one’s identity through having choice. Lasch

(1981) Freud and Williams (2000) would arguably describe this freedom of choice as an

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illusion or ideology, as capitalism and culture interlink for the profits within an economy.

Hence, it is suggested that advertisers control and manipulate us through tapping into our

minds as a consumer, to keep on purchasing. This provides a dim interpretation of how

advertising and capitalism work together as an illusionary, manipulative system, purely

controlled by businesses with economic prosperity being the focal point of their motivations,

rather than the consumers personal wellbeing

However, within the market of niche, affordable jewellery it is suggested that consumers

attach symbolic meanings, by expressing their identity and what they believe rather than

stressing society and culture as ‘manipulating’ (Miles, 1996). A positive attitude can be

emphasised within the long-lasting, sentimental value symbolised within the jewellery, which

expresses the consumer as a social, cultural being. Dauriz et al (2014) research suggested one

type of jewellery consumers are ‘young consumers’ whom obtain brands for ‘self-expression’

and ‘self-realisation’. Young consumers whom aim to self-express and self-realise are

epitomised in characterisation of Ashley Bridget bracelets, demonstrated in Figure 2 and

Figure 3.

Figure 2 (Ashley Bridget, 2016) Figure 3 (Ashley Bridget, 2016)

The youthful, female consumer can embody and express her artistic identity when wearing

such jewellery. In doing so, she is adapting and identifying to a cultural sphere of choice and

style, rather than conforming to particular identities constructed by businesses. Goffman

(1968, cited in Jenkins, 2014, p.97-98) suggests that there are two types of identities, the

‘social identity’ and the ‘personal identity’. The ‘social identity’ reveals basic elements of an

identity, such as age, gender, sex and occupation. The ‘personal identity’ reveals the inner,

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personal acknowledgements of an individual’s education, family, friends and home. Here,

‘labelling’ of identities are communicated between social beings through information

exchange (Jenkins, 2014, p.99). Identities are acknowledged and compared in this

communication process. The ‘social identity’ could be developed through the social mapping

of culture and ideology, where one labels themselves through what they see, hear, read or

believe. Advertisers then, categorise identities through labels of gender, sex, occupation, age

or personality. A category intertwines with another category, creating a confused societal

conception of identity in a post-modern culture (Wetherell, 2009).

As previously demonstrated, the individual self is deeply embedded within the formation of a

post-modern cultural identity. Individuals are therefore becoming increasingly fluid within

their identity image (Jenkins, 2014). The self in a post-modern society constructs his or her

identity through the fluidity of options available. This overlapping of identity formation

creates a fight for individuality (Miles, 1996). Intertextually, consumers may react to identity

shaping, by constructing it with another identity, through the battle for individualism. Thus,

Georg Simmel’s (1971) concept of individualism is examined to apprehend this encounter.

“The individual wanted to be conspicuous; he wanted to present himself more propitiously

and more remarkably than was possible by means of the established forms”

(Simmel, 1971, p.217)

Simmel (1971) focused on the most positive aspects of human interaction through discussing

the essence of a man’s inner soul which is transgressed onto other human beings through

communicative interaction. Personal and social lives were affected by the European

Renaissance during the 14th until the 16th century. The self was in search for individualism.

Thus, the ‘soul’ of a subject was developed through his inner core, naturally through the

growth of the individual self. The individual self then developed a subjective, cultivated self

(Simmel, 1971). Thus, in search and success for freedom and equality, subjects

acknowledged their own individualities. Common interests with others were shared, through

those individualities. Through these common characteristics, the inner core found his ‘self-

hood’ with others in search for individualism. Thus, Simmel suggested that through

cultivation of the self, natural origins of a subject are fulfilled, through the improvement of

their inner-core.

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Consequently, although Simmel’s concept was published in 1971, the cultivated self can be a

foundation of the postmodern identity of the female jewellery consumer who purchases

jewellery depending on their unique differences in style, value and status (Hae-kyung, 2011).

Jewellery consumers are similar, in the sense that they require diversification from others

who purchase jewellery too. Characteristics and identities are commonly shared, through

preference of one jewellery style to the next. As the self is searching for self-difference,

through the jewellery they purchase, they naturally share a similar identity with the other,

who also fights for self-difference. In turn, this expression of individuality allows more

positive outcomes for the meaning of one’s life (Simmel, 1971). As the cultivated individual

holds a sense of power and control over their identity, through their individualism.

Therefore, it could be suggested that new forms of the self are created through the process of

forming an identity. One identity can connect to the others identity through the social

interaction with the other’s identity type (Wetherell, 2009). Thus, advertising provides a

gateway for the desires of an identity to be expressed - yet to fit into the social sphere with

others too. Female consumers have a choice of style, taste and charisma through the

idiosyncrasies of an advertisement. This can be a form of expression, through the

construction of one’s identity, where a subject can then be self-aware, self-cultivated and

self-customized, as articulated by Dauriz et al (2014) and Hae-kyung (2011).

Through psychoanalytical techniques of advertisements, a culture is provided with illusionary

signifiers to construct identities and order social groups (Williams, 2000). However,

consumers can rebound from this demoralised perception, through developing and expressing

their identities with the availability of consumer goods and objects. Ashley Bridget bracelets

epitomise this sense of expression, where young, female consumers can purchase a bracelet

through subjective desire. Thus, a personal, emotional meaning within the self is ushered

through sentimental value. Figure 4 demonstrates this meaningful experience, as does the

caption situated next to the product on the website.

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Figure 4 (Ashley Bridget, 2014)

The caption on the website supports Simmel’s (1971) claim, that expression of individuality

provides a positive meaning within one’s life. The caption defines the ‘spirit of the turtle’,

advising the reader to ‘slow down… and patiently wait for things you want the most’ (Ashley

Bridget, 2016). Hence, when wearing the bracelet, a quintessence of personal meaning within

the female consumer’s life, can be positively embraced within the experiences of that

meaning.

In conclusion, this discussion has illustrated the relationship between social beings and

objects, and how these relationships are identifiable within advertising structures. Object

production (Jhally, 1990), psychoanalytical thought (Lasch, 1981., Lacan, 1990), identity and

individualism (Simmel, 1971) have represented how postmodernist and poststructuralist

thought can alter thought of social formations in consumption studies. This kind of thinking

has enabled classifications of social groups to become more complex, important and

necessary for theoretical examination of identity structure, as well as for business and

marketing in the advertising field.

Examples have shown the distinguishing relationship between social beings and advertisers

‘magic’ properties. Discursive cultural mediators have compelled objects as belonging to a

social group. It is an interesting discourse embedded, to understand the reality and illusionary

circuits of culture. The purpose of this analysation is to show how we are situated in a

postmodern socio-cultural sphere, where products and things are represented through

advertisements, on behalf of who we are as a cultured identity.

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Williams (2000) is successfully supported from other workings that capitalism is a reality and

advertising is illusionary or magic. I believe this is true, however some don’t see capital as

reality - rather they see the whole system as a corrupt illusion, not taking into account modes

of production or globalisation of the economy, products and goods. It is fair to say that this

marks people to become cynical, depressed or anxious of the world’s functions. To overcome

this, it would benefit the field of advertising if more research and knowledge was produced of

how the inner-self is expressed through the innovation and inspiration of advertisements.

Whether it’s an illusion or not for the subject, material must be delivered and produced for

more positive outcomes of advertising.

Also, it could be suggested that the field of advertising should be mindful of future consumer

practices to allow affective perceptions to continue. Individuals may decline consumer

practices through negatively placing their identity as an illusion. Further empirical research

would therefore enable a better understanding of psycho-social cultural patterns of

consumption and identity formation. Which, will also heighten Williams (2000) claim, that

advertising works as an illusionary ‘magic system’.

References

Appadurai, A., 1973. The Social life of things: Commodities in cultural perspective. New

York: Cambridge University Press.

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Ashley Bridget, (2016) [online]. Available at: https://ashleybridget.co.uk/ [Accessed 10

January 2017].

Ashley Bridget, (2016), Freedom [online]. Available at:

https://ashleybridget.co.uk/collections/mindfulness/products/freedom-1 [Accessed 10 January

2017].

Ashley Bridget, (2016), Patience-Turquoise [online]. Available at:

https://ashleybridget.co.uk/collections/spirit [Accessed 10 January 2017].

Ashley Bridget, (2016), Remember [online]. Available at:

https://ashleybridget.co.uk/collections/circle-of-life/products/remember-1 [Accessed 10

January 2017].

Banister, E., Hogg, M., 2004. Negative Symbolic Consumption and consumers' drive for self-

esteem: The case of the fashion industry. European Journal of Marketing, 48 (7), 850-868.

Dauriz, L., Remy, N., Tochtermann, T., 2014. A multifaced future: The Jewellery Industry in

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<http://guldsmed.dk/tinymce/jscripts/tiny_mce/plugins/filemanager/files/

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[Assessed 4th Jan 2017]

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Jhally, S., 1990. The Codes of Advertising: Fetishism and the Political Economy of meaning

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