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1.
This article examines one market-based intervention to combat gender discrimination in China, beauty brand SK-II’s #changedestiny campaign, and in particular an accompanying video, Marriage Market Takeover, which attempts to challenge the cultural stigma of “leftover women” (single women over 25). By mobilizing affect and highlighting the self-optimizing subject, SK-II, through the #changedestiny campaign, positions itself as a key instigator of women’s empowerment, and ultimately of not only familial, but also societal, change. In this regard, it follows the logic of what Banet-Weiser and Mukherjee (in Commodity activism: Cultural resistance in neoliberal times [NYU Press, 2012]) call commodity activism, or the merging of consumer behavior with efforts at social change within neoliberal brand culture. However, in a context we call “neo/non-liberal China,” modes of authoritarian and therapeutic governance intersect, and consumer subjects, not consumer citizens, are encouraged. We argue that through offering resistance to, and a resolution situated within familial relationships, the #changedestiny campaign does little to challenge the patriarchal “leftover women” discourse. We further argue that gender discrimination is raised in the #changedestiny campaign as a way to rationalize a neoliberal emphasis on consumption, self-care, and personal fulfillment, and that ultimately gender—as well as class—norms are reaffirmed despite the campaign’s efforts to promote meaningful social change. 相似文献
2.
David Chroust 《Slavic & East European Information Resources》2020,21(1-2):103-111
ABSTRACT Ethnocentrism affects perception and choices, and scholars, teachers, and students may not see or seek the “global” in our “global information revolution,” especially in such vast monolingual social spaces as the United States and the Anglophone world. Russia illuminates how unfortunate this state of affairs is because perceptions of Russia are so negative; whereas online information and open access there are so plentiful. Elibrary.ru offers free, full-text access to Russia’s periodical scholarship in all disciplines. Postnauka.ru is a lecture platform for Russian academics that rivals TED Talks in scale and production quality. Kul’tura is a federal television channel devoted entirely to education. Academic talk shows constitute part of the programming there and elsewhere. High-quality and reliable online tools such as these can enhance “Western” scholars’ and educators’ resource repertoires. 相似文献
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4.
Sarah Stevens 《The Communication Review》2014,17(3):256-268
To date, feminists have conflated (and continue to conflate) historical understandings of bondage, discipline, dominance and submission, and sadomasochism (BDSM) as pathological and representations of BDSM in literature and popular media with the lived experiences of feminist BDSM practitioners. Feminist BDSM practitioner Madison Young’s pornographic film 50 Shades of Dylan Ryan (2012) takes the recent resurgence of the ongoing debate on women, submission, and popular literature as a starting point for reconsideration and possibility. By adapting the discourse surrounding 50 Shades of Grey, Young’s pornographic film points to the ways in which feminism also contributes to that which makes pleasure possible. Young’s film reimagines the dualities that have traditionally dominated feminist cultural critique through concepts the author calls “mediated authenticity” and “formal simultaneity.” Beginning with a brief, rigorous examination of the 50 Shades of Grey phenomenon, this article analyzes Madison Young’s 50 Shades of Dylan Ryan and seeks to provide a critical intervention in feminist studies of pornography and popular culture. 相似文献
5.
Jennifer Stoever 《Journal of Radio & Audio Media》2019,26(1):119-133
“Black Radio Listeners in America’s “Golden Age’” argues that U.S. black listenership has been all but ignored in radio scholarship regarding the 1930s-1950s, as has the context of America’s racial segregation and radio’s active role in affirming and propagating it. The essay argues for an expanded understanding of archive and archival methodology in order to gain a more complex, accurate, and varied understanding of historical black listenership, and, toward that end, performs culturally contextualized close textual analysis across media: a 1937 Lead Belly song (“Turn Yo’ Radio On”), Joe Bostic’s column for The People’s Voice in the 1940s, Frederic Wakeman’s 1946 novel The Hucksters, a 1949 feature on black listeners in Sponsor magazine, a 1934 Vitaphone Short featuring Cab Calloway, and Ann Petry’s 1946 novel The Street. Through engaging with widely-varied representations of black radio listenership, Stoever argues that black listening practices from this period not only challenge the periodization of this era as the “Golden Age” of American radio, but also upend traditional categories of active, passive, and “resistant” listening that scholars have employed to understand media reception, revealing that active listening can look and sound different for black listeners, particularly in a period when listening “actively” to segregated media in ways prescribed by the dominant culture often proved to be deleterious. The act of “turning one’s radio on” was a complicated act of agency for black listeners, not simply a passive form of ignorance, escape, and/or anesthetization as popularly represented. 相似文献
6.
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
7.
Jonathan Gray 《Critical Studies in Media Communication》2013,30(3):223-238
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
8.
Robert B. Horwitz 《The Communication Review》2013,16(3):311-348
Office of Communication of the United Church of Christ v. Federal Communications Commission (1966), sometimes known as the “WLBT” case, was an instance where local citizens successfully challenged the broadcast license of a racist Mississippi broadcaster. The challenge worked in large part because it was tied to a larger social movement, that of Civil Rights. The effort resulted in the expansion of the legal doctrine of standing (that is, who could bring an action before regulatory agencies and courts) to normal citizens, and thus sparked the growth of citizen activism and participatory politics in various spheres, including consumer rights, environmental protection, and, of course, broadcast reform. The article tells the story of the case and its chief protagonist, Reverend Everett C. Parker. 相似文献
9.
《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
10.
《Communication monographs》2012,79(5):323-327
While T. M. Parrott's proposal that Shakespeare may have written the title‐role of King Richard II "for his own interpretation as an actor” suggests an interesting area of bibliographical research, the prevailing unreliability of facsimile editions of Shakespearean quartos makes investigation of presumed authorial pointing in Q1 —theoretically rhetorical or dramatic, rather than syntactical—both hazardous and frustrating. Still, the neophyte American bibliographer (who must resort to such texts), if forewarned concerning the nature of tamperings in photo‐lithographic facsimiles—made‐up lines, editorial “emendations” of original punctuation, occasional alteration of details in printers’ ornaments, and sometimes even outright forgeries—should find the liabilities well worth braving. 相似文献
11.
美国“图书馆作为公众科学社区中心”项目旨在通过公共图书馆社区锚点的身份扩大公众科学的实践范围、提升公众科学素养,在全美范围内产生了广泛影响,值得我国学习借鉴。本文利用网络调查法对该项目进行研究,分析其实践举措,为我国公共图书馆推动公众科学的发展提供有益借鉴。具体来说,可通过吸引民众参与公众科学项目、开展公众科学项目科研数据管理与共享服务、提升图书馆馆员公众科学服务能力和构建以公共图书馆为枢纽的全国公众科学协作网络等措施,将公共图书馆打造成为公众科学的社区中心,支持公众科学的普及和可持续发展。 相似文献
12.
Karen McIntyre 《Communication Research Reports》2016,33(3):223-230
To combat the constant supply of negative news, some online news outlets focus solely on “good” news. But what is the value of “good” news? A content analysis was conducted to determine which traditional news values (timeliness, conflict, impact, etc.) appear in stories on Web sites dedicated to positive news. The researcher compared “good” news sites to the New York Times. Results indicated that the majority of “good” news stories were entertaining and emotional, whereas the majority of New York Times stories involved authority figures and conflict. Good news stories were less committed to journalism’s core functions, such as holding power accountable and providing the public with information necessary for creating an informed electorate. 相似文献
13.
This study tested for intermedia agenda-setting effects among explicitly partisan news media coverage and political activist group, citizen activist, and official campaign advertisements on YouTube—all in support of the same candidate. The setting for this investigation was the political activist organization MoveOn.org's “Obama in 30 Seconds” online ad contest, which was held during the 2008 U.S. presidential election primaries. The data provided evidence of first- and second-level agenda-setting relationships. Partial correlations revealed that the citizen activist issue agenda, as articulated in the contest ads, was most strongly related to the partisan media coverage, rather than to the issue priorities of the official Obama or MoveOn.org ads on YouTube. These results extend the intermedia agenda-setting framework to political activist communication efforts and consumer-generated content. 相似文献
14.
Charles J. G. Griffin 《Communication Studies》2013,64(2):196-210
Eyes on the Prize: America's Civil Rights Years ranks as one of the most successful public television documentaries ever produced. Although it originally aired in 1987, the series has since been shown widely in school and college classrooms, where it arguably has influenced many students’ understanding of the civil rights struggle and, more fundamentally, of the nature and form of “social movement” itself This essay draws upon Kenneth Burke's concept of “significant form” to examine how the documentary's design works to shape public memory of the civil rights struggle as a social movement. In addition to yielding insight into the rhetorical structure of a landmark television documentary, the analysis of form in Eyes on the Prize illumines how public consciousness of “social movement” can be created and perpetuated through narrative form. 相似文献
15.
Tanya Kant 《广播与电子媒介杂志》2014,58(3):381-399
This article undertakes a critical comparison of contemporary personalization practices on Web platforms such as YouTube and Facebook with long-established practices of narrowcasting. Though such platforms appear to adhere to goals of universality similarly adhered to by public service broadcasting (PSB), the implementation of personalization on these platforms proves problematic to their discursive positioning as free “public” services. Furthermore, though public service broadcasters have embraced personalization in the name of pluralism, critics suggest that the narrowcasting inherent in personalization exists in tension to PSB's enduring commitments. Finally, the article argues that system-initiated personalization negates the “consumer sovereignty” that narrowcasting has traditionally mobilized. 相似文献
16.
Gilbert B. Rodman 《Critical Studies in Media Communication》2016,33(5):388-398
ABSTRACTDrawing on Stuart Hall’s influential “Notes on deconstructing ‘the popular’” [Hall, S. (1981). In R. Samuel (Eds.), People’s history and socialist theory (pp. 227–240). London: Routledge and Kegan Paul.], this essay maps out some of the major shifts in cultural studies’ relationship to popular culture over the past several decades. It concludes with a call for cultural studies to find ways to work from the terrain of the popular, rather than merely studying that terrain, or trying to “translate” its scholarly analyses for popular audiences. This is a necessary path to fulfilling its mission as a political project. 相似文献
17.
Grant McCracken 《Curator: The Museum Journal》2003,46(4):421-432
This paper reports anthropological research conducted at the Royal Ontario Museum (ROM) by the author over three years. The purpose of the research was a traditional anthropological one: to listen to visitors at length and in depth. Part One, published in Curator 46 (2), offered ethnographic data, anthropological analysis, and a marketing perspective to suggest why the visitor's point of view may seem vertiginously strange to museum personnel. It characterized the conflict between host and guest as the outcome of two competing models of culture: “preferment” and “transformation.” In Part Two, visitors' experiences of the museum serve to illuminate a shift in attitudes toward museum culture. This research establishes a typology of consumer segments and a set of strategic recommendations for freeing the museum from the preferment model without abandoning those visitors who continue to embrace it. 相似文献
18.
Richard J. Matthews 《Archival Science》2016,16(3):213-260
Hägglund’s “radical atheism”—innovative thinking within the philosophical current of “speculative materialism”—revitalizes deconstruction and provides an important basis to define parameters for the archivist’s role as activist for social justice. This paper argues postmodern archival theory gets deconstruction wrong by misreading Derrida’s “Archive fever” as a theory of “archontic power”; this misleads archivists on the call for justice. Properly understanding that justice is undecidable, radical atheism explodes the tension between postmodernists’ appreciation of all views and perspectives and their commitment to right unjust relations of power. This paper first advances the negative argument that “Archive fever” is not about power and injustice. It then advances the positive argument that “Archive fever” is Derrida’s effort to look at actual archives to resolve Freud’s problematic theorizing of a “death drive.” In a close and comprehensive reading of “Archive fever,” this paper explores the notion of “archive fever” as a death drive and suggests Derrida’s efforts are inconclusive. Viewed through the lens of radical atheism, the archive’s “traces”—the material of actual archives writ large in the manner of Derrida’s thinking about a universal archive—serve to mark the flow of time. Understanding the structure of the trace reveals the source of internal contradictions, discontinuities, and instabilities in the meaning of all things. It explains why justice is undecidable. In face of the unconditional condition of this undecidability, we as archivists and humans are compelled to make decisions and to act. Deconstruction politicizes our actions and evokes a responsibility that cannot be absolved. 相似文献
19.
Richard Farmer 《Media History》2013,19(3):371-386
The introduction of colour supplements by three ‘quality’ newspapers during the 1960s was a key development in the British press during the decade, and was described by the editor of the Sunday Times as ‘perhaps the most successful single innovation in post-war journalism’. This article provides an overview of the advent of the colour supplements, explaining why they emerged when they did and developed in the manner they did, and exploring some of the difficulties and issues that attended their arrival. The article also demonstrates that sections of the British press were capable of taking advantage of changes in print and advertising culture brought about by the arrival of the post-war consumer society. However, the term ‘colour supplement’ became pejorative shorthand for the perceived vacuity of this new society, in part because of the tension that existed between the editorial and advertising content of these modish new publications. Consequently, the success of the colour supplement experiment was not universally celebrated. 相似文献
20.
Michael Buozis 《传播与批判/文化研究》2017,14(3):254-270
The first season of Serial, to date the most popular podcast in the medium’s decade-long history, told the story of the conviction of 18-year-old Adnan Syed in 2000 for the murder of his ex-girlfriend, Hae Min Lee. At the center of Serial, producer Sarah Koenig presented Syed’s voice, his take on the prosecution’s evidence, and his own contemporaneous experience. This essay examines the way Serial used Syed’s voice to challenge institutional truth claims from within the textual space of crime journalism. “Criminal biography,” as a genre affordance of true crime, offers a textual means to interrogate modes of truth production and representation. 相似文献