2543Chap4 16/7/03 9:58 am Page 74 4 The Corporate Actor model The previous chapter demonstrated the striking differences in the climate strategies of ExxonMobil, the Shell Group and Statoil. While ExxonMobil has adopted a reactive strategy, Shell has chosen a proactive response, and Statoil has adopted a strategy representing a hybrid between these two positions. In this chapter we explore the explanatory power of the approach we have labelled the Corporate Actor (CA) model. To recapitulate our discussion from chapter 2, the CA model suggests that
causes and commercial interests, e.g. via corporate social responsibility (CSR), cause-branded products or philanthropy. 2 Critiques of the popular characteristically draw on various theoretical and analytical approaches, such as critical discourse analysis, Žižekian ideological critique and/or grounded critical analytics. 3 These analyses often echo critical approaches to popular culture in media
secure costumers’ loyalties ( Richey and Ponte, 2011 ; Tornhill, 2019 ). Female celebrities have also sought to use their visibility and fame to address the specific needs of women and girls in the global South and conflict zones, often locating their activism within notions of maternal care and cosmopolitanism ( Bergman Rosamond, 2016 , 2020a , 2020b ). Our focus on corporate and celebrity humanitarianism is thus intended to bridge and speak to strands of feminist
-Wilkins, Joel R. Pruce, Róisín Read, and Samentha Goethals – from a range of disciplines and critical stances, who have participated in various panels and reviews organised by the authors since the book’s publication as well as a response to their reflections from Richey and Budabin. The papers respond critically to the book project, but are also stand-alone contributions addressing the politics of aid, gendered narratives and American masculinity, spatial imaginaries, ‘positive’ corporate social
Company. In the partnerships with Theo Chocolate and Starbucks, there are echoes of this narrative, again going to a frontier to discover new resources that are desirable to markets back home. And for me one of the most interesting stories of the book was the insight into the financing of strategic celebrity and corporate partnerships. The details of the authors’ search to find out what money went to whom from whom showed clearly the lack of accountability and transparency and was
of the school public, according to Rockbrune. Among the most-shipped items, and prominent in the archival collection, ‘the famous CIDA world map … was very popular’ ( Figure 4 ). Produced by CIDA in English, French, and Spanish, it was accompanied by ‘an activity guide with all levels of education’. Teachers also received some of the ‘corporate documents’ meant for the wider public: ‘the journal Development … was integrated into youth publishing because it is a beautiful magazine. It was not really a publication that was made for Youth Editions, but it was on the
founding of those new institutions: the rise of corporate museums; the changing nature of museums across Europe’s cultural landscape; the ‘history boom’ of the 1980s; and the local history movement. Corporate museums were not a new thing by the time Red Cross museums opened in Geneva, the UK, and Germany, but they had seen a remarkable upswing since the 1960s and demonstrated that museums could be a useful tool of public outreach for organizations ( Danilov, 1992
contribute to this conversation by highlighting how celebrity and corporate humanitarian initiatives focus attention on women and girls in ways that not only reproduce neoliberal individualist logic but also reproduce harmful gendered and racialised humanitarian saviour/saved logics. By turning their attention to success stories of female empowerment in the humanitarian sector, Gregoratti and Bergman Rosamond use postcolonial feminist analysis to reconsider unintended consequences of particular
at the turn of the century as ‘the new super brands’, has also shaped the treatment of this issue ( Wootliff and Deri, 2001 ). As INGOs are increasingly ‘super brands’, with global recognition and power, and budgets to match, it is unsurprising that their corporate instinct is to protect their ‘brand’ at all costs. This is compounded by the fact that INGOs gain their authority and agency not only through their perceived expertise – which might be very
and new visual media? I mean, how important can a Red Cross museum be in those times? RS: Well, being a museum director, I would of course say they are extremely important! [(laughter] SK: Yes, I see that point [laughter] But what exactly is it that makes them so important? RS: Let me point back to the ten-year anniversary of the Association of the Red Cross Museums in Germany here. I remember that I gave a speech on that occasion, in which I pointed out that big companies like Mercedes, Stollwerck, or Volkswagen – they all have a corporate museum. Why