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Full-Text Articles in Social and Behavioral Sciences
A Taste For Greeting Cards: Distinction Within A Denigrated Cultural Form, Emily West
A Taste For Greeting Cards: Distinction Within A Denigrated Cultural Form, Emily West
Emily E. West
Greeting cards are a denigrated product category in the United States, and yet consumers use them at high rates across taste formations. Consumers with relatively high cultural capital place a premium on originality in their self-expression, hence greeting cards present a consumption problem because they are a mode of expressing the self through mass-produced means. Based on interviews with 51 people, I show that consumers with higher cultural capital are more likely to prioritize card design over sentiment; select smaller, simpler designs and sentiments; prefer cards that are handmade, look handmade, or remind them of fine art; and are more …
Expressing The Self Through Greeting Card Sentiment: Working Theories Of Authentic Communication In A Commercial Form, Emily West
Emily E. West
As mass produced vehicles of sentiment, greeting cards draw attention to the use of socially constructed codes for communicating, even feeling, emotion. This paper describes the results of interviews with fifty-one greeting card consumers, focusing on what makes greeting cards ‘personal’ for them, despite their mass-produced nature. Consumers negotiate their relationships with pre-printed sentiments differently depending on whether their allegiance is stronger to an expressive individualist understanding of authenticity or a ritual perspective, and these allegiances tend to reflect cultural capital. Specifically, suspicion of pre-printed sentiments is common among people with higher cultural capital, while this is the feature of …
Doing Gender Difference Through Greeting Cards: The Construction Of A Communication Gap In Marketing And Everyday Practice., Emily West
Emily E. West
Greeting card communication reflects the highly gendered division of both emotional and domestic labor in American culture. It’s generally thought that American men do not take as much responsibility for sending greeting cards as women, or display competence in this mode of communication, and both survey data and field work with greeting card consumers confirm this overall pattern. For many women, greeting card communication is part of a feminized habitus that includes kinship work as well as routine provisioning for the household. For men, taking an interest in greeting cards can seem like discrediting behavior for heterosexual masculinity, and so …
Mass Producing The Personal: The Greeting Card Industry’S Approach To Commercial Sentiment, Emily West
Mass Producing The Personal: The Greeting Card Industry’S Approach To Commercial Sentiment, Emily West
Emily E. West
The greeting card industry manages the challenge of mass-producing images and texts for use in interpersonal communication through both specific production techniques and narratives that “make sense” of this seemingly paradoxical task. The mass production of the personal is negotiated in the processes of writing sentiments and creating designs, as well as in identifying sending situations for cards. At Hallmark, the approach to creating emotional, relational communication for anonymous others is captured by the phrase “universal specificity,” which suggests that people’s emotions are essentially universal, and that the industry can meet the nation’s social expression needs by customizing these core …
When You Care Enough To Defend The Very Best: How The Greeting Card Industry Manages Cultural Criticism, Emily West
When You Care Enough To Defend The Very Best: How The Greeting Card Industry Manages Cultural Criticism, Emily West
Emily E. West
The American greeting card industry, in particular industry leader Hallmark Cards, makes substantial efforts to deflect cultural critiques in its communications with the public, demonstrating how culture industries actively manage their negative associations with mass culture as well as the public’s fears of an advancing ‘commodity frontier’ (Hochschild, 2003: 30). Hallmark frames its cultural production as creative while de-emphasizing its industrial nature, and whenever possible, aligns itself with the legitimating cultural categories of art and the folk to counter the idea that greeting cards are false, manufactured sentiment. Hallmark also argues that the consumer is sovereign in order to contradict …