What it costs to make Ourselves happy instant heroes
Humanitarian campaigns are proposing fun and simpler ways to support their causes with the help of advanced communication technologies and corporate sponsorships. It has become common to do good by shopping, running, texting and playing games. Despite some criticisms, such campaigns proposing simple and fun actions are becoming more dominant in the development and aid sector because of their ability to engage a wider public. This study aims to problematise the increasing role of corporations as moral educators and in the entertaining humanitarian campaigns focused on the Self at the expense of suppressing the Other. It focuses on the potentially destructive aspects of seemingly creative and entertaining humanitarian appeals supported by commercial forces by investigating the case of Barcodrop – an ethically packaged bottled water brand. This study begins by reviewing the relevant literature on post-humanitarianism, corporate social responsibility, contemporary consumer culture and bottled water. It then moves on to examine three research questions: What types of relationships are mediated and reproduced through the campaign? How does the campaign shape certain social practices and norms? How does this newly emerged post-humanitarian style work to mask political issues and serve particular ideologies? This is achieved by taking a case-study approach involving two qualitative analysis techniques social semiotics and critical discourse analysis. The combined approach illuminates opaque power relations and the ideology embedded in a stylish campaign. Based on the analysis, the study suggests that the unequal relationship of the heroic Self and the vulnerable Other is reproduced through the campaign. The promotion of simple and fun reinforces the narcissistic nature of contemporary consumers, which requires subordination of others. In addition, the Barcodrop campaign appears to normalise the consumer choice as an ethical practice by explicitly linking scanning and sharing. It also transforms the act of altruism to a playful activity of consumers while excluding distant sufferers, which makes participants loyal mediator of the brand. Furthermore, post-humanitarian aesthetic techniques effectively prevent the audience from understanding the complexities that surround water issues and legitimatise corporate ideology at the expense of solidarity.