The Merchants of Cool

In Rushkoff's movie "The Merchants of Cool" he rhetorically asked, "Is there a culture that allows young adolescents to draw a line with their own culture?" In the late 1990s when the documentary was produced, it meant that they did not make it. However, due to the development of the Internet and the accessibility of communication with a large number of people, today's teenagers can form a true culture that is not polluted by corporate media. Exposure to the media when documentaries were produced was limited to personal and expensive media such as television, movies, radio.

The movie "The Merchants of Cool" is exploring the relationship between marketing giant and today's teenager's personality and "coolness". I was surprised what came out in the movie; it was not that I did not understand the company's aggressive marketing strategy for selling products. For example, a paid teen Sprite pays $ 50 per person, dancing and having the best time to launch his website. The party was filmed by MTV and broadcasted to millions of teenagers, so I was influenced by this new trend. For me, by trying to find cool trends before they flourish, the company itself seems to end up killing every trend they eventually found through "cool hunting". They encourage trends that may never have appeared without intervention and suppress restraining others from entering the market. From these studies there is a "cool businessman" called "Muc and Midliff".

Like Colin Campbell and his old and old research, a cool merchant producer loses its strength and tranquility as soon as the local cool culture is occupied by teenagers and chosen by teenagers Indicates that. Like Campbell's desire of desire, advertisements and goods are "cool" and full of cool culture, soon obsolete and rely on their own "cool" simplicity. By using the local Youth culture logo, signs and items to sell mainstream popular culture, the company alienates many members of the target audience. As far as the youth are concerned, once the masses accept this tendency, it loses credibility of that street and it is worthless in terms of cultural currency. Barak and Dritzin noted that in order to preserve the value of youth's subculture, Cool must remain in the basement. Extensive advertising completely eliminates this value

Barak Goodman and Rachel Dretzin of the China Merchants Forum discuss today's contemporary youth culture as a very powerful and avoidable market and demand a number of unique advertisements that attempt to adapt and coordinate young people to the market Then I accepted it. Among their documentaries, Goodman and Dritzin explored the complex relationship between teenagers and young people, the media they consume, and the careful anchoring of teenagers and young people with media. As a target market and as a symbol of youth, youth culture is actively pursued. Goodman and Dritzin's paper states that the power and influence of the media is to establish and maintain the ideological concept of youth's desire and expression for standardization, commercialization, commercialization, or "cool culture" of youth culture Claiming to use commodity fetishism.