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This paper aims to discuss the concept of fetishism as an important but understudied kind of magical relationship to objects. Fetishism in the context of contemporary consumption is conceptualized as a multilayered construct underlining the attribution of an aura and magical power to a product to achieve personal goals.

In total, 15 in-depth interviews were conducted to highlight contextual factors influencing the emergence of fetishism in contemporary consumption, to underline the instrumental and aspirational dimensions of fetishism and to provide a definition of contemporary product fetishism.

The results show that fetishism appears as fragmented and unstable magical beliefs toward products related to a need to cope with uncertain and important aspirational situations.

The paper provides a multidisciplinary approach of fetishism to provide insights regarding this phenomenon and its manifestations in the context of contemporary consumption.

This essay uses Marx’s concept of commodity fetishism and Mauss’s description of the hau as the spirit that connects the giver to the gift to examine notions of production, value, and collectivity in the Santa Fe silver mining Cooperative in Guanajuato, Mexico. This case allows us to look at how fetishism on the one hand, and “hauism” on the other, can work together to form a hybrid form of value wherein silver participates in both commodified and giftlike processes. More broadly, it helps us to examine the relationship between the production of value and the production and legitimation of social groups.

Bringing product design and architectural design together, this article looks into the extraordinary use of everyday objects in urban and suburban spaces in The Lost Room mini-television series (2006). The study questions the accepted meanings of products and spaces in relation to their physicality, perception and use. Through multi-layered analysis of the relationship between objects, (architectural and suburban/urban) spaces and their users, the article opens up a discussion about the purpose, meaning and influence of designed products and places.

In this context, this qualitative research makes use of moving images (as representations of products and spaces) to propose a critique of contemporary design via (sub-)urban design practices.

Using irony and metaphor to question the habit of object possession, accumulation and fetishism, the series challenges blind loyalty to contemporary beliefs. The Lost Room is not concerned with new forms or new designs. Instead, it forces the audience to consider the meaning of both objects and spaces in relation to one another. By transforming our understanding of space, the series also reveals humans' spatial limitations. The Lost Room is a unique small screen “product” in which people's relationship to the designed world is interrogated by having mass-produced objects and the built environment constantly in the foreground.

Film analysis from a design perspective is not new; however, this is the first time The Lost Room is brought to the attention of architects and designers via scholarly work. Film theorists and cinemagoers may also benefit from the unique design perspective outlined in the article.

The purpose of the paper is to argue that an enriched understanding of texts would enable more informed and responsible management practice. The authors present an approach to the analysis of management texts that enjoys, rather than contests, multivocality with the aim of making our approach to defamiliarising texts an accessible change management tool.

Working with a reader‐response methodology we provide comment on, and analysis of, a popular management book, Kevin Roberts' Lovemarks. The authors context a response to this text in a discussion of commodity fetishism and deconstructed management theory texts. The interpretation of the subject text highlights its rhetorical suasion and pulls buried meaning into view.

The authors demonstrate that rhetorical analysis and satirical play, a mode of defamiliarisation that is employed in their own reading and incorporated into their classroom praxis, enables managers to better understand and control their own sense‐making. The authors argue that where their enriched understandings challenge embedded assumptions, changed management practices are enabled.

The authors offer their own construction of a Lovemark text, a satirical echo of the Roberts original, as an example of the distancing effect of humorous textual play.

This paper delineates the proprietary contest developed around a highly valued prestige item: a silver roofed tankard owned by a Romanian, Gabor Roma man.

The author applies “methodological fetishism” (Appadurai, 1986, p. 5), the perspective of things-in-motion, as well as the biographic method to interpret data collected during 31.5 months of multi-sited anthropological fieldwork carried out in the Transylvanian Gabor and Cărhar Roma groups.

As the tankard in question crossed the borders of three Transylvanian Roma groups, and thus went through the processes of de- and re-contextualization three times, it is characterized by a transethnic/transcultural biography. This paper pays special attention to the agency associated with the tankard (the social and economic practices, processes and emotions it caused or influenced), the transformations concerning its symbolic properties, and its movement between various social contexts and value regimes. Furthermore, it examines how the analysis of these issues contributes to a deeper understanding of prestige relations and consumption, morality and business ethics, and measures of success in two Transylvanian Roma groups.

This paper reveals how subjects create, manipulate, and represent their identities, and social and economic differences through the construction of commodity biographies and ownership histories interpreted as symbolic pantheons. By combining the terms of Marcus (1995) and Fowles (2006), it argues that analyses based on multi-sited fieldwork focusing on commodities crossing cultural or social boundaries, and their transnational/transcultural biographies, should be defined as multi-sited commodity ethnographies.

We compare two highly symbolized beverages – Coca-Cola and tesguino, a fermented maize beer of indigenous northern Mexico – to (re-)evaluate the notion of fetishism of commodities in contrasting ethnographic contexts. In the case of Coca-Cola, we observe a kind of hidden but active fetishization, meaning a strategic procedure wherein the producer invests images of social character, experience, and other naturalizing significations into its commodity. Tesguino, as a comparably sacred drink among the Rarámuri, is not characterized by its concealment in magical properties and simulacrized associations. The ritual consumption of tesguino, instead, reveals the organic social bonds in relations of production and exchange.

This chapter fosters understanding of core U.S. gun culture and how it promotes its political ideology through visual means.

The research applies key visual theory concepts to investigate a selection of political representations made by gun rights advocates. The images analyzed include photographs, posters, and other ephemera posted on blogs and commercial websites located through informed keyword searches of Google Images.

Core gun culture in the U.S. aggressively promotes its libertarian and right-wing ideology through tactics of interpellation, intertextuality, and exhibitionism, often in tandem with humor, sarcasm, paranoia, and sex appeals.

Although the findings are preliminary, visual theories and methodologies present a promising direction for further consumer research on American gun culture.

U.S. gun culture produces levels of gun violence that far exceed those in other developed countries. Knowledge of how the core gun culture represents itself visually may deliver insights for mitigating this social problem.

Relatively little consumer culture research has addressed U.S. gun culture and visual theories have not been fully deployed.

This paper documents the case of La Verde, a producer cooperative in Andalusia, Southern Spain, whose members grow and sell organic fruit and vegetables. Fieldwork data reveal a range of assessments and practices with respect to just price. Historical experiences of working as day laborers, with little access to cash or other resources informs the members’ radical political views on money, prices, and markets. These ideas modulate exchanges at the local level, and in their political networks. However, working their own land and selling a prized product allows them to generate good market returns from private shopkeepers in cities. The paper proposes that for a price to be considered just, criteria for commensuration, or equivalence between a price and the perceived value of an object must adhere, but adjudications about this vary according to the relationship between exchangers. Rather than an objective just price, the paper considers assessments and judgments about the relation between prices and justice to be contextually defined, contested, and negotiated.