Customized Identity Production: Personal Identity Production
When they talk about corporate identity, they mean, of course, the identity of consumers of the market sector in which the company operates.
The starting point is the identity of the consumer and it can also be purposefully constructed, like the corporate one. To be a client of a certain company means to be a carrier of a certain identity.
Henry Jenkins, a media anthropologist from Massachusetts, is studying fan movements in America and Japan. He writes that for the participants of this system:
When a company constructs its identity, it creates a Brand Identity for itself. When a company constructs the identity of its potential customers, it broadcasts a Branded Identity .
Usually, one can observe how the Brand Identity simply adapts to the consumer identity that has already spontaneously emerged. Branded Identity is an identity that is purposefully constructed by a company from scratch and can be subject to copyright, like any creative work.
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Identity can act as a commodity (commodity), like soap or matches. Consumer needs to be identified .
The need for identity may be secondary, as a means to enter the community. Identify yourself to be yours. At the same time, it can also be an independent value. The need for a new identity can be a response to a crisis situation, to external problems that require rethinking of their role and purpose.
Traditionally, the Identity Production industry works to meet general social needs, and on what to feed the entertainment industry (animation, comics, literature).
For example, Professor Anne Allison (Anne Allison), the author of the book Millennial Monsters: the boundaries between the body and the mechanism) arose during the collapse and post-war reconstruction of the country. That is why, according to Ann, the fantastic images of Japanese pop culture are so different from the American images of the same period. But now in the US there is more social and economic instability than in the 1950s, and it is experiencing something similar to Japanese sentiments half a century ago. That is what led to the high popularity of Japanese aesthetics in the modern American market.
Industry Identity Production, can also exist independently, without submitting to either the trade in fashionable sneakers or the entertainment industry. It should be service oriented or customized. In other words, to do the production of personal identities - Customized Identity .
The starting point is the identity of the consumer and it can also be purposefully constructed, like the corporate one. To be a client of a certain company means to be a carrier of a certain identity.
Henry Jenkins, a media anthropologist from Massachusetts, is studying fan movements in America and Japan. He writes that for the participants of this system:
"... to consume means to participate, and to participate means to acquire something like a new identity."
When a company constructs its identity, it creates a Brand Identity for itself. When a company constructs the identity of its potential customers, it broadcasts a Branded Identity .
Usually, one can observe how the Brand Identity simply adapts to the consumer identity that has already spontaneously emerged. Branded Identity is an identity that is purposefully constructed by a company from scratch and can be subject to copyright, like any creative work.
')
Identity can act as a commodity (commodity), like soap or matches. Consumer needs to be identified .
The need for identity may be secondary, as a means to enter the community. Identify yourself to be yours. At the same time, it can also be an independent value. The need for a new identity can be a response to a crisis situation, to external problems that require rethinking of their role and purpose.
Traditionally, the Identity Production industry works to meet general social needs, and on what to feed the entertainment industry (animation, comics, literature).
For example, Professor Anne Allison (Anne Allison), the author of the book Millennial Monsters: the boundaries between the body and the mechanism) arose during the collapse and post-war reconstruction of the country. That is why, according to Ann, the fantastic images of Japanese pop culture are so different from the American images of the same period. But now in the US there is more social and economic instability than in the 1950s, and it is experiencing something similar to Japanese sentiments half a century ago. That is what led to the high popularity of Japanese aesthetics in the modern American market.
Industry Identity Production, can also exist independently, without submitting to either the trade in fashionable sneakers or the entertainment industry. It should be service oriented or customized. In other words, to do the production of personal identities - Customized Identity .
Source: https://habr.com/ru/post/3617/
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