ASSOCIATION FOR CONSUMER RESEARCH Labovitz School of Business & Economics, University of Minnesota Duluth, 11 E. Superior Street, Suite 210, Duluth, MN 55802 The Interplay Between Archetypes and Autobiography in Mass Media Preferences Elizabeth C. Hirschman, Rutgers University ABSTRACT - The present research utilized a reader-response approach to explore the preferences consumers have for motion pictures and television shows. Analytical emphasis was placed upon the semiotic features contained within consumers' favorite films and programs, especially those of an archetypic and/or mythic nature. It was found that consumers typically intertwined aspects of their autobiographical narratives with story structures and archetypic figures drawn from their favorite mass media texts. Among these were the figures of the Low Born Hero, the Corrupted Hero, the Warrior, the Good Father and Utopia. Preferred motion picture and television narratives were also used to overcome implicit oppositions consumers encountered in life, such as the Real versus the Ideal, the Self versus Others and Choice versus Chance. [to cite]: Elizabeth C. Hirschman (2004) ,"The Interplay Between Archetypes and Autobiography in Mass Media Preferences", in NA - Advances in Consumer Research Volume 31, eds. Barbara E. Kahn and Mary Frances Luce, Valdosta, GA : Association for Consumer Research, Pages: 168-173. [url]: http://www.acrwebsite.org/volumes/8876/volumes/v31/NA-31 [copyright notice]: This work is copyrighted by The Association for Consumer Research. For permission to copy or use this work in whole or in part, please contact the Copyright Clearance Center at http://www.copyright.com/. The Interplay Between Archetypes and Autobiography in Mass Media Preferences Elizabeth C. Hirschman, Rutgers University ABSTRACT Additionally, both Dyer (1982, 1986) and McCracken (1989) The present research utilized a reader-response approach to have proposed that actors and actresses could be used to personify explore the preferences consumers have for motion pictures and social categories in a culture. For example, Eco (1966) argues that television shows. Analytical emphasis was placed upon the semiotic during the 1960’s actor Sean Connery came to signify the warrior features contained within consumers’ favorite films and programs, character James Bond, just as Dyer (1986) claims that Marilyn especially those of an archetypic and/or mythic nature. It was found Monroe iconically represented the seductive goddess archetype that consumers typically intertwined aspects of their autobio- during the 1950’s and 1960’s. Dyer (1986, p. 16-17) proposes that, graphical narratives with story structures and archetypic figures “Stars represent typical ways of behaving, feeling and thinking in drawn from their favorite mass media texts. Among these were the contemporary society, ways that have been socially, culturally and figures of the Low Born Hero, the Corrupted Hero, the Warrior, the historically constructed... Stars are embodiments of the social Good Father and Utopia. Preferred motion picture and television categories in which people are placed and through which we make narratives were also used to overcome implicit oppositions con- our lives...” Thus, film and television narratives may be texts which sumers encountered in life, such as the Real versus the Ideal, the carry archetypal meanings with which consumers can implicitly Self versus Others and Choice versus Chance. identify (Randazzo 1995; Stern 1988). INTRODUCTION THE STUDY Recently, consumer researchers have directed increased atten- The present study explores the possibility that consumers’ tion toward the ways in which the mass media affect consumers’ preferred motion pictures and television shows are chosen based everyday lives (Holbrook 1999; O’Guinn and Shrum 1997; Ritson upon archetypic personification, which assists the consumer in and Elliott 1999). In particular, the reader-response approach (Eco composing his/her autobiographical narrative. Archetypes may 1981) has been identified as having large potential for enhancing provide the shared cognitive and social context (Ritson and Elliott our comprehension of how mass media products, such as motion 1999; Zaltman 2000) through which mass media products such as pictures and television shows, are incorporated into consumers’ self motion pictures and television shows are given meaning in the identities and social interactions. (Drotner 1994; Mick and Buhl consumer’s life and used in his/her project of identity construction 1992; Moores 1991; Radway 1988, 1984; Scott 1994a). As Holbrook (see also; Gibbs 1994). (1999) and McQuarrie and Mick (1999) propose, while quantitative and text interpretive methods of assessing mass media influence are METHOD undoubtedly valuable, they are no substitute for the rich insights Data for the study were generated by means of phenomeno- that can be gained by talking directly to consumers about their logical interviews with 24 volunteer participants who were assured media preferences and desires. of anonymity. The participants were of diverse gender, ethnicity, Holbrook (1999, p. 154), for example, concludes after present- age and religious affiliation. The interviewer used a six- question ing a highly detailed quantitative analysis of motion picture prefer- protocol to initiate and guide the discussion.1 Dialogue centered ences that, “There may well be other movie characteristics not around the consumer’s favorite films, television shows, actors and included here that tend to enhance both popular appeal and expert actresses. judgments... These factors would include the character of a movie’s Each interview was conducted in the participant’s place of story line... the development of certain themes or motifs... the residence with only the participant and the researcher present. The design of a film’s semiotic structure and semiological signification, interviews began by asking the participant to simply “tell the story” e.g., binary oppositions vs. subtle graduations, myths or archetypes, of his/her favorite film. All participants were eager to do this, and metaphoric meanings, [and] consumption symbolism... often continued their initial narrative rendition for half an hour with The present research utilized a reader response approach to little or no assistance by the researcher. Because of the involving explore the preferences consumers have for motion pictures and and seemingly enjoyable nature of the task, participants continued television shows. Following from Holbrook’s (1999) proposals, through the subsequent questions and discussion enthusiastically, analytical emphasis was placed upon the semiotic features (Mick responding to each of the general questions in a lengthy and detailed 1986; Holbrook and Grayson 1986) contained within consumers’ manner. Interviews took a minimum of 1 1/2 hours, some went as favorite films and programs, especially those of an archetypic and/ long as 3 hours. or mythic nature (see e.g., Scott 1994b; Stern 1995). While con- sumer researchers have examined the archetypic and mythic con- Interpretive Procedures and Logic of Analysis tent of these mass media offerings previously (Hirschman 1987; The analysis of the verbatim interview transcripts involved an 2000; Holbrook and Grayson 1986), they have not done so using iterative, part-to-whole reading strategy through which I worked consumer-based data. As already noted, consumers’ notions con- toward a holistic understanding of each person’s transcript, while cerning their own preferences are a key (perhaps the key) element also making note of common themes, especially those of an in our understanding of those preferences. Mass media narratives such as motion pictures and television shows may serve as carriers of contemporary cultural archetypes, 1These questions were: What is your favorite motion picture? Can according to Gibbs (1994), and Moores (1993). Filmmakers, you tell me what it was about? What are some of your other scriptwriters and even advertising copywriters (see Randazzo 1995; favorite movies? Who are your favorite movie actors and ac- Scott 1994b; Stern 1988) draw upon the pre-existing stock of these tresses? What do you think about —; What does s/he mean to you? cultural images to construct their narratives. (Repeat for television shows). 168 Advances in Consumer Research Volume 31, © 2004 Advances in Consumer Research (Volume 31) / 169 archetypal and autobiographical nature, across the set of tran- Fred Astaire, and represented the same beauty and perfection: “I scripts. In this process, earlier readings of a transcript were used to used to like to watch Fred Astaire dance with Ginger Rogers and inform later readings and, reciprocally, later readings allowed me imagine I was dancing with him in those beautiful gowns...I was a to recognize and explore patterns not noted in the initial analysis. very quiet girl and those movies always made me forget myself...[I The archetypal categories were compared with those developed loved] the singing and dancing and the beautiful costumes, the previously by Campbell, Eliade and Jung during their extensive make believe world. You forgot your real world; you forgot what studies of comparative mythology. Additional metaphoric con- was happening in your own life...It was make believe, but it made cepts were also discerned which related to recent findings on you forget and it made you happy.” cognitive categorization (e.g. Gibbs 1994; Lakoff and Johnson Becky, a 26 year old eighth grade math and geography