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The role of everyday citizens in the production of knowledge has become central to the study of media sociology. This interest is fueled by the growth of information communication technologies that have made it easier for amateurs to produce and disseminate content. The world of book reviewing – an exemplar of a field transformed by digitalization – concerns about the rise of amateurs manifests in the grievance that, “Nowadays, everyone’s a critic.” This chapter empirically investigates this idea by asking: Who is qualified to be a reviewer? The chapter draws on in-depth interviews with review editors, critics, and bloggers who have successfully crossed over to publish in some of the most important outlets in the English-publishing field. Analysis reveals that openness is central to ideas of what qualifies someone to be a book reviewer and how reviewers subsequently get work. Openness, however, is an example of noncertifiable skills, which are ascertained primarily through informal methods such as turning toward one’s personal and professional networks for recommendations from peers or relying on personal face-to-face encounters. A practical consequence of this selection criterion is that only reviewers who are known to book review editors in this specific way (i.e., their tastes and esthetic openness) are eligible candidates for professional review assignments. In this way, the commitment to openness as a professional value among book reviewers actually operates as a mechanism of closing their occupational boundaries.

Television critics play a central role in the interpretation of cultural forms, objects, and productions. In contrast to critics in elite art worlds, the role and status of television critics are less institutionalized and less well understood. One indicator of the degree and status of the institutionalization of critics’ roles is the codification of evaluative criteria and critical practices. Our research examines whether critics in television draw upon a recognizable set of evaluation criteria, and if so, whether that repertoire of aesthetic concepts increasingly parallels criteria employed by critics in elite art worlds. Using multidimensional scaling to delineate television criticism over the last two decades, a period of considerable transformation in the industry, we find that television criticism attends to a core set of conventional criteria. These include appraisal of formal aesthetic elements, signaling increased attention to television as an art form, while retaining consideration of factors such as entertainment value that are of interest to audiences and business constituencies alike.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.

Previous research suggests that women receive less critical attention and acclaim in popular music. The authors expect that gender differences in the amount and content of media discourse about popular musicians occur because music critics draw on the cultural frame of gender as a primary tool for critical evaluation. In order to explore the role of gender as a frame through which aesthetic content is evaluated, the authors conduct detailed content analyses of 53 critical reviews of two versions of the popular album 1989 – the original released by Taylor Swift in 2014 and a cover version released by Ryan Adams less than a year later. Despite Swift’s greater popularity and prominence, the authors find that reviews of her version of the album are more likely to focus on her gender and sexuality; less likely to describe her as emotionally authentic; and more likely to use popular aesthetic criteria in evaluating her music. By contrast, Ryan Adams was more likely to be seen by critics as emotionally authentic and to be described using high art aesthetic criteria and intellectualizing discourse. The authors address the implications of the findings for persistent gender gaps in many artistic fields.

Consecration is the process by which producers in creative fields become canonized as “greats.” However, is this the end of the story? Research on consecration focuses on the drivers of consecration but pays little attention to the post-consecration period. Furthermore, the research ignores the dynamics of consecration. To address these gaps, we examine the changing fortunes of a consecrated artist – the musician Phil Collins. We identify the ways in which three actors (fans, critics, and peers) assemble for consecration, disassemble for deconsecration, and reassemble for reconsecration. Examining the changing public image and commercial fortunes of Collins as a solo artist between 1980 and 2020, we identify an N-shaped process of rise-fall-rise that we call the Phil Collins Effect. This effect offers a new way of thinking about how cultural producers gain, lose and regain status in their fields.

In small group settings, is it the position in social networks or the content of communication that constitutes a leader? Studies focussing on the content suggest that leadership consists in creating and promoting meanings, whereas studies focussing on the connections stress that it is the network position that ‘makes a leader’. These two dimensions of leadership communication style have not been compared yet. To fill this gap, this chapter applies an emerging approach – socio-semantic network analysis – to jointly consider the content of, and the connections, in leaders' communication. Using a multisource dataset, we empirically study the social network positions (social network analysis) and the content of communication (semantic network analysis) of three leaders in a creative collective. Our findings reveal that different styles of leadership make diverse use of the content and the connections in a small group. The academic and practical implications are outlined.

This work addresses how consumer perceptions of quality may be influenced by the composition of competition. I develop a theoretical framework that explains how consumer evaluations of quality can be negatively impacted by a product's stylistic similarity to popular competitors. These issues are examined empirically using more than 75,000 online consumer evaluations, from the evaluation aggregator Rotten Tomatoes, of 123 feature films released in the United States during 2007. Results suggest that during a movie's opening week, movies that are stylistically similar to the top-performing box office movie are evaluated less favorably. Additional analyses indicate that this negative effect may persist in later periods due to social conformity pressures, and that there is reduced demand for those movies that are stylistically similar to the top box office performer. This article contributes to the broader literature in strategic management by depicting how stylistic features of competitors can affect consumer behaviour and perceptions of quality in markets. This work also suggests managerial implications for entry-timing decisions and positioning choices.

City identity is a distinct form of collective identity based on the perceived uniqueness and meanings of place, rather than group category and membership. A city’s identity is constructed over time through architecture, which involves three sign systems – material, visual, and rhetorical – and multiple institutional actors to communicate the city’s distinctiveness and identity. We compare Barcelona and Boston to examine the identity and meaning created and communicated by different groups of professionals, such as architects, city planners, international guide book writers, and local cultural critics, who perform the semiotic work of ­constructing city identity.

The prospect of public sociology is beginning to be widely discussed and debated. Critics put forth several reasons for skepticism, one of which is that the program of public sociology, under the leadership of Michael Burawoy, will infect sociology with a Marxist drift. This paper examines whether this drift in fact comports with Marx's ideas on the relationship between scientific knowledge, the role of intellectuals in the class struggle, and the type of political action he advocated. It finds that critics are fundamentally mistaken about the extent to which Marx's ideas are expressed in public sociology's program.

In recent decades, it is possible to point to a new and evolving debate among analysts of sexuality, political economy, and culture, focused on the implications of feminism’s changing relations to institutions of state power and law in the United States. According to these analysts, to whom we refer as the critics of feminism in power, the alliances formed between some feminists and neoliberal and conservative elites, coupled with the installation of feminist ideas in law and state institutions problematize the once commonly held assumption, shared by second-wave feminists, that all women, regardless of differences in social location, face certain kinds of exclusions. With women entering formal positions of power from states to NGOs to corporations, this assumption cannot stand. Critical analysts of feminists in power insist that we consider the implications of advancing a feminist politics not from the margins of society but from within the precincts of power. They shine a light on a change in feminism’s relation to institutions of state power and law as reflected in new political alliances forming between feminists and neoliberal and conservative elites, and the political and discursive uses to which feminist ideas and ideals have been put. Building on work on inequalities and hierarchies among women, these critics take up specifically political questions concerning the kind of feminist politics to be promoted in today’s changed gendered landscape. Perhaps most notably, they make explicit a concern shared by radical political movements more generally: what does it mean when the ideas of those who were once considered political outsiders become institutionalized within core sites of state power and law? At the same time, the very broad-brush narratives concerning the cooptation of feminism by neoliberalism put forth by some of these analysts could be complemented with historical and empirical research on specific instances of feminism’s reciprocal, though still unequal, relationship with neoliberalism and state power.