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The idea of preferred meaning comes from Hall (1980), and will be explored in more detail later in this chapter. The representation is then purchased by the hauler (consumed), likely because some aspect of the hauler’s identity is attracted to the piece of jewelry. Next the hauler will produce a YouTube video in which she showcases her new necklace and explains what she might wear it with, arguably engaging in identity construction and self-expression. Thus, while representing Forever 21 by wearing a piece of their jewelry, and possibly taking on one of the identities put forth by the company, the hauler engaged in both consumption and production, while incorporating identity and representation in the process. Keep in mind that this does not happen in a vacuum. The vloggers exist within a lived context. They engage in a cultural identity construction by creating a particular look, given the demands of age, gender, race and other phenomena. Consequently, when discussing production and its place in the circuit of culture framework, du Gay (1997) states that the moments of consumption, representation and identity must be brought into the conversation as well (p. 10). In their case study of the Sony Walkman, du Gay et al. (1997) explains that the Walkman was produced as a technological device geared toward the “bright, young, market-oriented consumer who wants to consume in a global market and to express individual choice” which was facilitated through “new styles of production” (p. 31). Similarly, Braham (1997) discusses the concept of production in the context of the fashion world: It is perhaps only to be expected that in cultural studies fashion is treated as a cultural subject, in which most emphasis is on fashion as a badge or a means of identity. Yet 30PDF Image | EXPLORING HAUL VIDEOS ON YOUTUBE: A COLLECTIVE CASE STUDY APPROACH
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