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Authentic: The Politics of Ambivalence in a Brand Culture
3 references·16 citing·47 second hop
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this work references cited by second hop

References

  • 2002The rise of the creative class: and how it's transforming work, leisure, community and everyday life6,488 cited
  • 1999No Logo: Taking Aim at the Brand Bullies1,049 cited
  • 1999The Most Beautiful Girl in the World302 cited

Cited by

  • 2015The Confidence Cult(ure)311 cited
  • 2023The authentic virtual influencer: Authenticity manifestations in the metaverse254 cited
  • 2017‘I Guess A Lot of People See Me as a Big Sister or a Friend’: the role of intimacy in the celebrification of beauty vloggers238 cited
  • 2017Aesthetic Labour: Beauty Politics in Neoliberalism213 cited
  • 2018The athletic labour of femininity: The branding and consumption of global celebrity sportswomen on Instagram148 cited
  • 2019Brands as relationship builders in the virtual world: A bibliometric analysis134 cited
  • 2018Branding Internet sovereignty: Digital media and the Chinese–Russian cyberalliance132 cited
  • 2023Political Influencers on Social Media: An Introduction128 cited
  • 2015Keynote Address: Media, Markets, Gender: Economies of Visibility in a Neoliberal Moment116 cited
  • 2016Organizing beyond organization: Branding, discourse, and communicative capitalism114 cited
  • 2016‘Is every YouTuber going to make a coming out video eventually?’: YouTube celebrity video bloggers and lesbian and gay identity

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107 cited
  • 2017Ambivalence in networked intimacy: Observations from gay men using mobile dating apps106 cited
  • 2022The postfeminist entrepreneurial self and the platformisation of labour: A case study of yesheng female lifestyle bloggers on Xiaohongshu93 cited
  • 2015Amateur, Autonomous, and Collaborative: Myths of Aspiring Female Cultural Producers in Web 2.091 cited
  • 2022Influencers as ideological intermediaries: promotional politics and authenticity labour in influencer collaborations85 cited
  • 2017Branding the self as an “authentic feminist”: negotiating feminist values in post-feminist digital cultural production85 cited