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1.
Although late-night comedy and satirical news programs like The Daily Show have been recognized as important sources of political information, prior research suggests that viewers gain only a limited amount of political knowledge from watching these programs. Drawing from uses and gratification theory and extant research on political information processing, this study examines whether learning from The Daily Show depends on whether viewers orient to the message as news or as entertainment. Results from an online experiment suggest that viewers who orient to a segment from The Daily Show as news or as a mix of news and entertainment invest more mental effort and subsequently learn more than viewers who have a purely entertainment orientation. Further, among viewers with a purely entertainment orientation, providing them with an explicit informational-processing goal increases the amount of mental effort and learning relative to viewers who are given no explicit viewing objective.  相似文献   

2.
In recent years, the gay man/heterosexual woman couple configuration has become a genre unto itself in mediated popular culture, resulting in unprecedented mainstream visibility for gay men. Major mainstream films, such as My Best Friend's Wedding, Object of My Affection, and The Next Best Thing, showcase this combination as their centerpiece, as does the highly rated prime-time network situation comedy, Will & Grace. In this essay, I assess this particular performance of gay identity in order to discern what qualities render it – as presented in this configuration – not only acceptable but popular, given the heteronormative sensibilities that characterize the mainstream audience to which it is directed. I argue that, in these texts, homosexuality is not only recoded and normalized in these representations as consistent with privileged male heterosexuality but is articulated as extending heterosexual male privilege. In so doing, blatant sexism is reinvented and legitimized, and gay male identity simultaneously is defined by and renormalizes heteronormativity.  相似文献   

3.
《Journalism Practice》2013,7(4):377-391
In the current economic environment, message synergy may result in a perceptible manifestation of ownership's impact on media content. That influence raises ethical issues: journalistic independence and access to the media marketplace for a variety of messages. This project analyzes the “soft news” content of the two most popular morning television news shows, The Today Show and Good Morning America during November 2007 sweeps. The analysis demonstrates that “soft news” story topic selection appears to be strongly influenced by economic connections to the parent corporation. The potential impact of this distortion of the cultural public sphere for journalists, viewers, creative artists and advertising at the institutional level are analyzed. The wages of synergy include a restriction of journalistic autonomy, confining viewers to a role that is exclusively consumption oriented, and, at the institutional level, jeopardizing the credibility of news programming which could have a long-term impact on advertising revenues.  相似文献   

4.
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   

5.
In September 2015, Scream Queens premiered on FOX. In the show, mass murderers at the fictional Wallace University brutalize and torture college students. At first glance, Scream Queens shows promise to disrupt heteronormativity, as the show’s lead characters include an overtly feminist university Dean, an acerbic and bright sorority president, and a gay scholar athlete. I argue that when the camp aesthetic enters the show’s post-(feminism and sexuality) context what emerges is “pop-camp”—an affected form of camp bereft of resistive promise. This analysis extends previous explorations of pop-camp to ask how camp may restore sexism and homophobia through discourses of the post- infused with an impulse toward nostalgia. The post- presents a distorted view of past inequality. When combined with humor, satire, and irony, this camping of the post- can be outright dangerous in restoring sexism and homophobia. This analysis of Scream Queens explores how camp responds to the post- rhetoric that has come to define contemporary times.  相似文献   

6.
ABSTRACT

Stuart Hall’s work on culture, representation, ideology and hegemony positions Hollywood as a cultural institution informed by and informative of US social values and norms. Thus contemporary debates over Hollywood's diversity are indicative of broader social conflicts. Empirically the article examines 2014–2015 news coverage of Hollywood to question the Hollywood paradox—the lack of diversity in film/TV production yet TV’s increasing shift towards on-screen diversity. It maps three discursive frames: Hollywood exceptionalism, economic imperatives, and institutionalized racism and sexism. The article concludes by using Hulu’s East Los High to reflect on TV’s digital turn and innovative models in production and representation.  相似文献   

7.
This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119–139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers.  相似文献   

8.
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   

9.
ABSTRACT

The idea that pornography promotes sexism is a commonly purported one. This study employed an online sample of heterosexual men (N = 323) to investigate the relationship between pornography use (in terms of both overall level of pornography use and use of violent and/or humiliating pornography) and old-fashioned and modern sexism. The moderating effects of agreeableness and perceived realism of pornography were also assessed. Level of general pornography use and use of violent and/or humiliating pornography was not predictive of either sexism measure. Agreeableness was negatively predictive of both sexism measures, whereas perceived realism was positively predictive of sexism. Agreeableness and perceived realism did not moderate the relationship between level of pornography use and any of the outcome measures.  相似文献   

10.
In The Cattle King, a Brazilian telenovela, melodramatic elements of class ascension, love and betrayal, adultery, and pre‐marital sex played a central role in the lives of the main characters. This ethnographic study of viewers in Macambira, a small rural community in the backlands of northeast Brazil, discusses how these rural viewers appropriated telenovelas in their daily lives and how the meanings assigned to the texts were interpreted according to their own values and beliefs about gender roles, relationships, and sexuality. I argue that the geographical isolation and the local patriarchal culture mediated the process of reception, interpretation, and appropriation of telenovelas. The isolation in which Macambira is located in relation to the urban representations in the telenovela narratives intensified the perceived gap between the local patriarchal culture and the urban reality constructed in the television text.  相似文献   

11.
Using MTV's popular long-running program The Real World as a case study, this essay examines the interrelationship of the construction and consumption of bodies in an increasingly surveillance-based, commercial, hybrid media culture. This article is part of a larger project that employed a multi-method approach grounded in feminism combining textual data from The Real World with interviews with producers and female fans of The Real World. The author investigates how Real World viewers make sense of the series' claims to the real, using the body as the site of cultural production. Two key frames of bodies on The Real World are identified: the troubled body and the heteronormative body. The analysis is situated among studies of media realism to interrogate the context in which real women today are recreated as the “fractured female” in popular culture. The author argues that scholars should continue in a move toward interdisciplinary approaches that link the cultural with the capital and offers the body as a major site of cultural production and reception.  相似文献   

12.
–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   

13.
Mary Irwin 《Media History》2013,19(2):162-177
Wednesday Magazine (1958–1963) was an innovative BBC television afternoon arts and culture strand produced by the specialist BBC women's programme unit, which had been built up and nurtured by the first dedicated head of women's programmes Doreen Stephens, who was appointed in 1953. Stephens was responsible for the development of a diverse and extensive range of women's programming; highly ambitious in the offering that it presented to its female viewers. This article will examine the series Wednesday Magazine exploring the wealth of arts and culture items broadcast, whilst considering the programme's significance in critical histories of both women's programming and arts television. The article will also make an intervention into historical debates around what constituted women's television in Britain.  相似文献   

14.
This essay explores the practice of “culture jamming” as a strategy of rhetorical protest. Specifically, “pranksters” deploy the tools of the mass media and marketing in order to take advantage of the resources and venues they afford. Through the concept of “pranking,” this essay suggests that the most promising forms of media activism may resist less through negation and opposition than by playfully appropriating commercial rhetoric both by folding it over on itself and exaggerating its tropes.  相似文献   

15.
This study examined political television dramas with lead female characters, proposing a model that links viewing of these shows with political engagement. A survey revealed that regular viewers of Madam Secretary, The Good Wife, or Scandal reported feeling transported by these programs’ narratives and parasocial relationships with the main characters (i.e., women in positions of political leadership). These responses were also related to increases in political interest and self-efficacy, with interest predicting real-world political participation. The findings illustrate that these political dramas have prosocial implications, including the non-stereotypical representation of women as well as increased political engagement among viewers.  相似文献   

16.
This paper examines televisual parody as a media literacy educator, and the potential of parody to channel the powers of comedy and entertainment in order to “teach” the techniques and rhetoric of televisual texts and genres. It focuses on the case of the hugely successful and popular animated parodic sitcom, The Simpsons, and its playful attack on advertising and promotional culture. Currently in its 16th season, The Simpsons broadcasts to approximately 60 million viewers in 70 countries weekly, offering a playful critique of television from within the television frame.  相似文献   

17.
Media consumers have grown accustomed to content that is broken down into digestible chunks. Portlandia, an Independent Film Channel (IFC) comedy series that affectionately satirizes Portland, Oregon's hipster culture, offers a model of how to attract online viewers and create television programming using short videos intended for a niche audience. IFC promotes these decoupled, song-length clips online and encourages sampling and sharing. Using interviews and an analysis of the program's structure and content, this case study explores how Portlandia takes advantage of the synergy between television and new media, and the way audiences consume video programming in the digital age.  相似文献   

18.
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making.  相似文献   

19.
This paper investigates the feelings of individuals who have been exposed to the continuous demands for managing and beautifying the body. Through audience research on Korean reality shows about body/beauty, Get It Beauty and The Body Show, we attempt to understand how the discourses of body care work at the individual level. Our interviewees’ feelings of being stressed, burdened, and annoyed about the discourses in the shows signify their (un)conscious acknowledgment of the false promises of the self-care rhetoric. However, the discourses of willpower and the embedded voyeuristic pleasure of watching the shows make it difficult to place such feelings in the public domain. We conclude that individuals’ feelings lose their potential as resistant voices when “feeling bad” is discounted as personal, while a feeling of individual achievement is excessively celebrated.  相似文献   

20.
Through the theoretical framework of Jacques Lacan's “mirror stage,” this study employs statistical analysis to code the frequency with which Spielberg utilizes the “gaze” in his work to emotionally influence viewers by providing them with desirable images of the human face. This study examines if these psychologically desirable images are used with more frequency in Spielberg's successful films, thus providing quantitative support for the assertion that Spielberg “manipulates” his audience through his signature style.  相似文献   

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