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1.
Brenda Cooper 《Critical Studies in Media Communication》2013,30(4):416-435
–This essay examines how the narrative structure of the Fox primetime television hit Ally McBeal opens the text to a feminist reading. Despite critics' charges to the contrary, I argue that producer/screenwriter David E. Kelley's teleplays construct a preferred feminine spectator position that appropriates dominant male gazes in three ways: the feminine setting of the law firm, the refusal of women characters to yield to the male gaze, and the “comic spectacle of maleness.” Ally McBeal's preferred feminine spectatorship stance is articulated through comic strategies in which gender ideals are questioned through mockery, thus opening a safe space for viewers to reject dominant patriarchal meanings and to experience a feminist epistemology. 相似文献
2.
Tasha R. Rennels 《传播与批判/文化研究》2013,10(3):271-288
Depictions of white working-class people are steadily on the rise in reality television. To understand this phenomenon, and the ways in which it articulates white working-class people in the United States today, I analyze Here Comes Honey Boo Boo, a popular reality series on TLC featuring a self-described “redneck” family. I argue that this series highlights the family's inability—because of their working-class status—to conform to “ideal whiteness,” a whiteness that displays dominant cultural standards bolstered by neoliberalism, such as wealth, rationality, personal responsibility, and self-control. The family members consequently become exemplars of “inappropriate whiteness,” a marginal identity presented as humorous and, through the use of surveillance and spectacle, authentic. 相似文献
3.
Piyush Mathur 《The Communication Review》2013,16(2):151-175
Cognizant of the evolving academic discipline of ecological communication (EC), I offer this essay as a follow-up to my previous publication—a critical exegesis of Niklas Luhmann's Ecological Communication (1989)—in this journal. Hoping to throw more light on Luhmann's formulations, I introduce and interpret those writings of Gregory Bateson that apparently influenced the former—and/or attempted to link ecology with communication. While I do not necessarily advocate either of these two thinkers' overall philosophical frameworks, I believe that they deserve attention—at the least insofar as they provide a measure of contrast to the contemporary academic discourse of EC (which remains shallow, intellectually parochial, and nonrigorous). That aside, many specific ideas developed by these two thinkers will interest a wide range of constituencies—especially those devoted to the study of information, communication, and ecology. 相似文献
4.
David Whiteman 《Mass Communication and Society》2013,16(4):457-477
The production and distribution of social-issue documentaries can have a wide range of significant impact on community organizations, educational institutions, citizens, and policy makers. What this article seeks to demonstrate, using the example of Tracy Huling's Yes, In My Backyard, is the utility of an “issue-centered model” that allows a comprehensive and systematic analysis of the full range of political impact, including impact on producers, activists, and policymakers. Much of the way Yes, In My Backyard “worked” within the rural prison issue network parallels the way that policy analysis can affect public agendas and public policy. Although many documentaries can be regarded as “implicit” pieces of policy analysis, Huling's is the most explicit, and her measure of success is how well her work can alter the agenda of activists and policy makers, stimulate research to support policy change, and then help implement that change. 相似文献
5.
Sarah Banet‐Weiser 《Critical Studies in Media Communication》2013,30(2):119-139
Nickelodeon is a powerful commercial cable network of television, internet activities, toy manufacturing, and video production. The network has been recognized by both industry professionals and media scholars for its representation of girls as strong, intelligent lead characters. Focusing on entertainment programs Clarissa Explains It All and As Told by Ginger, as well as on Nickelodeon's non‐fiction children's news program, Nick News, I argue that the media context of girl power, combined with the increasing recognition of adolescent girls as both powerful citizens and consumers, offers what at times looks like a radical gesture in terms of disrupting dominant gender relations. However, we can also read the mainstream embrace of girl power as a restabilization of particular categories of gender, so that this “radical” challenge moves toward the entrenchment of conventional gender relations. 相似文献
6.
In contrast with critics who interpret The Matrix by focusing primarily on either the film's dazzling visual effects or on its more fragmented “second coming” narrative, we work within the tension between the two. As a myth, the film updates an ancient initiation ritual in which the hero matures into a character capable of freeing humanity from its technological mirror image, represented here as a false mother. As a spectacle, however, the typically beneficial influence of feminine eroticism is displaced from women into the special effects, thereby diluting the impact of the narrative. The Matrix is, we believe, caught in this tension just as postmodern humanity is caught between its attraction to and its repulsion from its own technological extensions. 相似文献
7.
Dan Schill 《Mass Communication and Society》2014,17(5):754-775
The Colbert Report, an innovative American satirical news show, and the show's dedicated viewers, known as “the Colbert Nation,” redefined fan engagement through audience participation, mediated culture jamming, and ironic political spectacle. Yet very little is known about this fan group. This survey of The Colbert Report's devoted followers finds that the fans are distrustful of political and media elites, highly cynical, very politically involved, not apathetic, and moderately efficacious. Further analysis reveals that viewers have different motivations, some seeing the show as primarily entertainment, some mainly as a trusted source of political information, and others as a mix of entertainment and information. The fans are also found to be highly sophisticated consumers of satire and news, and watch the show as an alternative to mainstream media and as a form of comic relief from current events. Several implications are discussed. 相似文献
8.
9.
Marouf Hasian 《Critical Studies in Media Communication》2013,30(3):338-358
–This essay focuses attention on some of the polysemic and polyvalent dimensions of Spielberg's Saving Private Ryan. The author argues that this film needs to be viewed as an intertextual fragment, where audiences, rhetors, and critics co-produce their interpretations of the rhetorical meaning of D-Day and the “Good War.” The essay advances the argument that critical memory studies help us understand how various representations and absences in the film allow for a number of different nostalgic and oppositional readings of the film. Because of the ambiguous nature of this cinematic representation, both supporters and detractors could claim that this was a realistic film that supported their own views on warfare. 相似文献
10.
Bonnie Dow 《Critical Studies in Media Communication》2013,30(2):123-140
–The discourses constructing the coming-out of Ellen DeGeneres/Ellen Morgan, star of and lead character in the ABC television sitcom Ellen, were permeated with implications of authenticity and liberation, illustrating the continuing power of the confessional ritual described by Michele Foucault in The History of Sexuality. In contrast to the popular interpretation of the coming-out as an escape from repression, media treatment of the Ellen phenomenon was productive, in Foucault's sense, constructing a regulatory discourse that constrained the implications of gay visibility on commercial television by channeling it through a narrative of psychological autonomy, through television norms for representing homosexuality, and through an overarching strategy of personalization. I conclude with a discussion of the problems of “poster-child politics” as exemplified by the Ellen discourse. 相似文献
11.
Helen Morgan Parmett 《传播与批判/文化研究》2016,13(1):3-22
This paper contends with how postbroadcast television branding subsumes viewers’ affective interactivities with place to produce brand value. Focusing on the HBO series Treme, I argue that Treme engendered HBO's postbroadcast brand mutation by producing “passionate engagement,” where viewers were invited to interact with the show by touring New Orleans, thus adding place to online interactivity and multiscreen engagement as a means of constructing an “authentic” brand identity. The desire for viewers to connect to New Orleans’ culture is thus transformed into a vehicle for profit making for HBO and an assurance to shareholders that the brand still holds value. 相似文献
12.
ABSTRACT While prison libraries offer growing job opportunities for librarians, few professionals are aware of the concerns and challenges facing prison librarians. This survey was conducted to help develop a profile of Ohio's prison libraries which may be useful to librarians and MLS students who are considering employment in this area. Other professionals may also use the information to develop better understanding, more appreciation, and greater respect for the very challenging field of prison librarianship. 相似文献
13.
Rosya Izyanie Shamshudeen 《亚洲交流杂志》2013,23(2):142-157
This paper analyses the audience reception of the Malaysian reality television programme Akademi Fantasia (AF), which first aired in 2003 and completed its ninth season in 2011. AF has been an influential pioneer in the national television industry, inaugurating the trend of local reality shows and weathering intense competition from similar shows to remain at the top of the ratings chart over the last decade. Based on the Mexican talent search show, La Academia, Malaysia's AF is a unique hybrid blend of an Idol-style talent contest and Big Brother observational spectacle. The article draws on primary audience research to investigate the ways in which Malay audiences interpret the potentially incommensurable cultural meanings generated within the context of a localised version of a global television format. Chua's concept of ‘identification and distancing’ is employed as a framework to analyse the complex ways in which perceived Malay ‘cultural norms’ assume primacy as interpretative lenses for audience evaluations of the show and measures of its local difference from similar global cultural products. The research also reveals how these cultural norms are themselves being negotiated by the audience as part of the everyday experience of inhabiting coexisting local and global popular cultural spaces. The analysis focuses on audience understandings and pleasure in the programme in relation to fashion and taste; the behaviour of the official judges; voyeurism and conflict in ‘backstage’ coverage; and emotional intimacy onstage in the public performance component of the programme. 相似文献
14.
Brenda Cooper 《Critical Studies in Media Communication》2013,30(1):44-63
–This analysis argues that Kimberly Peirce's film Boys Don't Cry can be read as a liberatory narrative that queers the centers of heteronormativity and hegemonic masculinity by privileging female masculinity and celebrating its differences from heterosexual norms. My critique emphasizes how the narrative strategically challenges heteronormativity and, in turn, “narrative's heteroideology” (Roof, 1996), in four ways: 1) by dismantling the myth of “America's heartland”; 2) by problematizing heteromasculinity; 3) by centering female masculinity; and 4) by blurring the boundaries of female masculinity. I argue that the articulation of each subversive strategy within the narratives of Boys Don't Cry can serve a liberatory function, whereby the privileged subjectivities of heterosexuality and hegemonic masculinity are dismantled and, simultaneously, female masculinity and gender fluidity are privileged and normalized. I conclude that the narrative structure of Boys Don't Cry not only privileges gender diversity, but also exposes the inherent sexual bigotry of heteroideology and the brutal and deadly consequences of society's failure to eradicate such prejudice. I just keep on laughing Hiding the tears in my eyes Because boys don't cry. Boys don't cry. (Smith, Tolhurst, & Dempsey, 1988) 相似文献
15.
Deepa Kumar 《Critical Studies in Media Communication》2013,30(3):285-302
–This paper investigates whether organized labor can challenge the news media's pro-corporate representations of strikes and labor struggles. I studied the coverage of the 1997 UPS strike in three newspapers: USA Today, The Washington Post, and The New York Times. I found that their strike coverage, spanning about 191 articles, went through three distinct phases over the 15-day period. By studying these phases I agree that, for a brief period, public opinion and class solidarity, mobilized on the basis of a strike against corporate mistreatment of workers, played a key role in changing the tone of reporting, particularly in the Post and the Times. During this phase, the contradictions of the 1990s economic recovery and the problems of the working class became an issue of sustained interest in the public sphere. By showing how labor was able briefly to create an “open marketplace of ideas,” the paper concludes with an assessment of the democratizing potential of a politicized labor movement. 相似文献
16.
《Communication monographs》2012,79(4):368-376
This study applies the results of an updated and extended investigation of the printings of Aristotle's Rhetoric between 1477 and 1599 to demonstrate the availability of the Rhetoric during the Renaissance. Four conclusions are drawn: (1) the Rhetoric was widely available, for at least 95 printings occurred during the period examined; (2) the repeated printings of Latin translations by five different humanists indicates a growing demand for the Rhetoric; (3) Victorius's efforts to reconstruct an authentic Greek text had a favorable influence on improving subsequent editions; and (4) the fact that most of the printings appeared in five continental cities indicates that the dissemination of the Rhetoric depended upon its purchase by private scholars and collectors. 相似文献
17.
This study examines the effect of The Colbert Report, Comedy Central's mock conservative talk show, on young adults. By fashioning his character as a hyperbolic ideologue, Colbert is mocking personalities such as Bill O'Reilly. However, this study finds that when young adults are exposed to The Colbert Report's humor, they are not led to be more critical of the far right. Instead, the opposite happens, and there is an increased affinity for President Bush, Republicans in Congress, and Republican policies. Ironically, Colbert's attempts to poke fun at conservative commentators may be helping those same commentators spread their message. 相似文献
18.
The article explores the journalistic coverage of the public crisis that developed following the publication of Yediot Aharonot's investigative report about the diving practices of Israel's sea commandos in the polluted Kishon River. The coverage of the Kishon diving crisis is probed via two complementing research trajectories. The first trajectory looks at the construction of the newsworthiness of the Kishon diving crisis in comparison to two similar crises while addressing the interpretations provided by various involved factors. The second trajectory explores the various frames through which the Kishon diving crises were narrated. The article's concluding section discusses the complex interrelations between newsworthiness and framing. 相似文献
19.
Jack Glascock Ph.D. 《Communication Studies》2013,64(1):29-47
This essay examines approximately 1 1/2 years of opinion page content in The Jasper NewsBoy concerning the dragging death of James Byrd Jr. in June of 1998. The manner of Byrd's murder horrified much of the nation and galvanized public discussion about race relations. The NewsBoy's coverage was an important part of the community's response to the crisis, which ranged from prayer vigils to town hall meetings. This paper sketches a brief outline of the crisis as it unfolded to provide a context for the papers role, followed by an analysis of the NewsBoy's opinion section based on Fishman's methodology for examining crisis communication events. By combining elements of civic journalism and crisis communication, the newspaper helped the town stage a successful image restoration campaign. 相似文献
20.
Joshua N. Morrison 《传播与批判/文化研究》2020,17(2):149-165
ABSTRACT In this essay, I theorize the lifestyle celebrity as a figure whose fame is premised on their aspirational status. I offer lifestyle celebrity as a complementary analytic to ordinary celebrity that allows for more precise distinction between celebrity figures. I engage Sofia Coppola's The Bling Ring as a film that positions the desire for lifestyle celebrity as dangerous and irresponsible. I argue that the film places the burden of maintaining a “healthy” relationship with celebrity culture entirely on consumer-participants and affirms the class and gender performance hierarchies that structure the valuation and distribution of lifestyle celebrity. 相似文献