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This paper reviews recent developments in marketing-related sustainable business practices (SBP) that macromarketing scholars have researched and debated for four decades. Such SBPs should be regarded as positive steps toward a future where business does more good than harm in society.

Using the approach of a literature review, this paper highlights the actions of entrepreneurs and firms to implement SBPs resulting from analysis of the interplay between markets, marketing and society. Such analysis is in the tradition of macromarketing scholarship.

The study identifies important developments about an important shift toward adopting SBPs among many firms, as well as among consumers − especially, in developed countries of the world.

The study suggests that taking a macromarketing view offers scholars a broad lens on current complex marketplace phenomena that will prove effective in better understanding sustainability issues.

The results of the study underline the value of macromarketing scholarship through the last four decades. By being daring enough to consider other stakeholders other than marketers and owners of firms, macromarketers have provided scholars a more holistic understanding of business’ role in society.

Today, enlightened practitioners who utilize knowledge from macromarketing scholarship can gain a competitive advantage as they navigate markets increasingly influenced by a wider set of stakeholders. Such influential stakeholders include partner firms, employees, society and local communities, NGOs, media, government, as well as the environment and future generations. Scholars can gain perspective on the phenomena they investigate with such a macromarketing lens.

Buying secondhand clothing is not only interesting for consumers wanting to save money but also for sustainable clothing enthusiasts. It is now among a number of consumption practices which slow down fast fashion production while saving 10 to 20 times the energy (Fletcher, 2008, p. 100). While most of the recent scholarly work focuses on secondhand consumers (Bianchi & Birtwistle, 2010; Franklin, 2011; Norum, 2015), this paper aims to examine business activities. This perspective from economic anthropology enhances understandings of secondhand clothing, as research to-date has tended to neglect the semiotic function of clothing while underlining exchanges. To gain insight into the dynamics of the sector in Germany today, two businesses from Hamburg have been ethnographically examined by the author since 2014. This study outlines their work practices and explains the development of this high-end segment of the market from the 1970s until the digital age. For businesses, the digitalization of the trade has had massive effects on their business practice because it seems to solve inherent problems connected to the selling of pre-owned clothing. I argue that the digitalization did not only promote acceptance of buying secondhand clothing in Germany but also the emergence of new businesses models.

Cultural criminologists have long been interested in the politics of crime and deviance, whether that be in relation to youth subculture resistance or the social reaction to transgression evident in the media construction of folk devils and moral panics. While contemporary ‘new’ cultural criminology continues to be focused on the situated experience of deviant ‘edgeworkers’, this chapter argues cultural criminology’s concern with the crime-media nexus provides particularly fertile ground for exploring insights provided by activists, academics, professional journalists and citizen journalists around informal interventions on formal criminal justice processes using social media and digital technologies. Drawing on examples from a burgeoning body of crime-media research, the chapter makes a case for ‘cultural criminology activism’, which, like activist criminology, is consciously disengaged from mainstream criminology’s alignment with the neoliberal-carceral state and its reformist agenda.

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.