STORRE

This article arises from an unexpected discovery among the papers held in John Grierson’s Archive at the University of Stirling, which stimulated historical analysis. The document in question makes it possible to locate Drifters in the short-lived period of transition from silent to sound films. The moment when Grierson’s film was first screened to audiences at the end of 1929 coincided with the technological transition in British cinema from accompaniment by musicians playing live in the aud...

Purpose Limited attention has been paid to the cultural influences on the formation of consumer attitudes toward luxury brands (LUX). The purpose of this paper is to investigate this relationship by developing a model that additionally employs the constructs of susceptibility to normative interpersonal influence (SNII) and brand consciousness (BCO). Design/methodology/approach Sample data were gathered through surveys administered to 383 college students in the UK and Taiwan. The model of cu...

This article proposes that the affective processes that shape our relationship to the world of digital consumption and communication can be illuminated further when viewed through a lens of object relations psychoanalysis. We focus on the use of the mobile phone as both an object in the world and of the psyche in order to reflect upon its uses as an evocative object that shapes the psychosocial boundaries of experience in everyday life. We argue that in contrast to the concepts of interperson...

As Annette Kuhn explains in relation to her pioneering research on cinema culture in 1930s Britain, ‘how people remember is as much a text to be deciphered as what they remember’ (2002: 6). This article, drawing from research conducted as part of a three-year AHRC-funded project looking at the history of the Highlands and Islands Film Guild (The Major Minor Cinema Project: Highlands and Islands Film Guild 1946-71, University of Glasgow and University of Stirling), 1 will examine the ways in w...