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(i.e. a negotiated reading)? Or do they reject it completely by not buying anything and possibly trash-talking the brand with their peers (i.e. an oppositional reading)? Braham (1997) asks: “...how does something become a fashion item and what is fashionable about it? Who shapes and influences fashion?” He asks if it is the up market designers or those at “street level” who create fashion. “And if there are different fashion ‘worlds,’ what is the relationship between them?” He goes on to explain that answers to such questions are what constitute the pages of fashion magazines and newspapers (p. 126). Thus, while fashion is manufactured in the physical form (i.e. the actual garments), it is also produced through the editorial content in fashion periodicals and more recently, haul videos. “If the extensive coverage of fashion in newspapers and magazines invariably makes fashion seem exciting, it is also likely to be fairly superficial” (Braham, 1997, p. 127). Can his statement be applied then to haul videos? Do the haulers produce superficial content? Scherer and Jackson (2008) explain that the producers of the Black commercial (which included the New Zealand Rugby Union [NZRU], adidas, and advertising agency Saatchi & Saatchi, Wellington) worked together to create the commercial. The producers agreed on the fact that the Ka Mate haka was thought of as a “generic part” of the All Blacks “identity” and they had no reservations about using it in the commercial (pp. 512-513). These dominant cultural understandings, incidentally, justify the commercial exploitation of the Ka Mate haka and indigenous culture: i.e., if all New Zealanders own the Ka Mate haka as a “historical” national signifier, or if it is a generic part of the All Blacks brand, it can be pillaged for commercial purposes and the financial advancement of the NZRU and corporations like adidas (Scherer & Jackson, 2008, p. 513). 34PDF Image | EXPLORING HAUL VIDEOS ON YOUTUBE: A COLLECTIVE CASE STUDY APPROACH
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