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1.
Although the number of gay male representations on American situation comedies has increased, an examination of the ways same-sex intimacy operates within sitcoms is of paramount importance. This article traces a brief history of same-sex intimacy in sitcoms, then uses film and television stylistic analysis of the contemporary sitcoms Modern Family, Happy Endings, and The New Normal to argue that the positioning of the camera and the spatial relationship between actors is deliberate and conveys critical information. The article argues that sitcoms in the 21st century obscure same-sex kisses through camera angles, particularly the over-the-shoulder shot, and that the public/private dichotomy factors prominently into the spaces where same-sex intimacy is permissible and how such intimacy is filmed within the televisual home. Ultimately, gay representation in American network television comedy retains a conservative approach to same-sex intimacy even as it continues to include gay male characters in greater numbers.  相似文献   

2.
The decline of the soap opera as a major form of popular culture highlights the importance of that form in creating and maintaining a shared subculture for women. Soap operas are contrasted with recent television and film works that present the struggles of women in a different way, highlighting the distinctive features of soap operas as women's subcultural forms.  相似文献   

3.
This article examines debates around Chile’s digital television transition in order to trace the socio-historical relation between piracy and social change. During the military dictatorship (1973–1990), media activists used what they called “honorable piracy” for counter-communication efforts aimed at restoring democracy. Following the return to democracy, community television participants have rationalized their unauthorized transmission of alternative programming to low-income sectors using a similar logic of honorable piracy. For these community television participants, the digital transition represented the possibility of redefining democratic access to the public sphere and attaining legal recognition. Through an analysis of citizen activism around the move from analog to digital television, this article argues that discussion of piracy emerges as an expression of conflicting notions of the definition, use, and distribution of public resources.  相似文献   

4.
《Popular Communication》2013,11(2):103-118
This article presents findings from 2 studies examining the impact of the 1996 Federal Communications Commission (FCC) processing guideline mandating educational television for children. The studies include (a) a content analysis of 3 episodes of each of 41 different programs listed as "core" educational programming under the FCC's requirements and (b) an examination of industry perspectives on children's educational programming based on 22 in-depth telephone interviews with independent producers, network executives, and program consultants. The article contrasts the results of the content analysis with findings from the industry interviews to explore the economic factors that determine what is offered as "educational and informational" (E/I) on commercial broadcast television for children. The article concludes by considering why broadcasters may be more likely to offer "prosocial" programming (i.e., shows that deal with social and emotional issues) than "traditionally academic" programming (i.e., shows related to school-type subjects) to satisfy their educational television obligations to children.  相似文献   

5.
ABSTRACT

Recent film and television treatment of South Asia from UK producers have introduced new angles on the violent politics of colonial past, whether this be the activities of the East India Company in the early days of Empire, or about Partition, at the ostensible Raj’s end. The controversy over Gurinder Chadha’s 2017 film Viceroy’s House is taken as an opportunity to consider the new South Asian film and television studies and the emergent scholars that are challenging conventional media studies models. The co-constitution of here and there is given as an analytic lens through which to comprehend representation and stereotyping in films “about” politics in South Asia, and the view taken is that a debilitating divide and rule, via mechanisms of representation, remains strongly in place, despite the fighting efforts of the new South Asian media scholarship.  相似文献   

6.
In Britain, film studies came on the agenda in the 1970s, when it served as a terrain for the formulation of a critical understanding of how cinema functioned within the broader context of industrial capitalism and the nexus between that and the reshaping of people's habits and lives. However, during that decade, a different agenda was also at work, which, from the early 1980s, began to receive support from neo‐liberal ‘free‐market’ ideologues. Over a period of 30 years, the overall direction of the inquiry into cinema, now firmly sealed into institutional networks, has become such that the critical language of ‘film theory’ has been hollowed out and the industrial agenda of British national television and cinema wrapped around it. Today, with the opening of film studies departments across Asia, the question is not whether outside Britain the language of film studies will became available for instrumentalization by the forces of an expanding Euro‐American capital, but how it will do so. This paper argues that the recovery of film from the bureaucratization of its study and its rediscovery as one of the modalities of modernization require both a framework of analysis that is fully conscious of its own historicity and critical role, and a new topography of cinema.  相似文献   

7.
Abstract

In popular culture, Hong Kong is probably the most “Japanese city” outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong's emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan's cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.  相似文献   

8.
Research on television sex roles is examined in terms of sex role portrayal, occupational endeavors, attitudes, and personalities. The studies reviewed for the U.S. verified the notion that men and women are still presented in their traditional roles. Women are not portrayed as autonomous, independent human beings, but were primarily sex typed. They were given responsibility for child care and routine home maintenance. On the other hand, men were shown in more serious roles assuming responsibility for family financial support, and thus were very likely to be employed in positions of high occupational status. The studies conducted in Japan and the Philippines likewise adhered faithfully to traditional roles and, in that sense, women were still not functioning to promote an egalitarian life for themselves.  相似文献   

9.
What values do theatre and dance hold for audience members? And how do these values differ between subsidised, amateur, and commercial performance? This paper addresses these questions through a survey of over 1800 spectators for theatre and dance in Tyneside in northeastern England, as well as a parallel set of focus groups, in the spring of 2014. These methods, which are designed for comprehensiveness and comparability, are being used across Europe by the Project on European Theatre Systems, a working group of theatre sociologists. Our research showed two sets of values which performances achieved; one was a common measure of performance quality, while the other described the values particular to subsidised work. This allows us to articulate both the general value of the arts and the particular values which subsidy (attempts to) facilitate. This has implications for both understandings of cultural value and for cultural policy, as the distinction between the two groups was not clean. We also found that amateur theatre participated in the same value system, but with an increased emphasis on loyalty and community cohesion. The paper concludes a methodological reflection on the use of quantitative methods in theatre studies.  相似文献   

10.
ABSTRACT

The denial of Taiwan's status as a nation by international communities has long-served as a catalyst for Taiwanese theatre practitioners’ pursuit of an expressive body that responds to complex national identities. Taking Taiwanese society as the basis for considering the irreducible complexity of postcolonial struggles vis-à-vis the power relations of neoliberal cultural production, in the theoretical framework of this paper, I propose a biopolitical reading of modern Taiwanese theatre. In particular, to reveal the constructedness of the idea of the body, I foreground the embeddedness of theatre in local society and scrutinize the interplay between an imagined body and the theatre through Taiwanese practitioner Tian Chi-Yuan's (1964–1996) White Water (or Baishui, 1993). Using this work as a case study, I focus on his experiment of intercultural bodily gestures through which the fabrication of national identity is both revealed and questioned. I consider Tian's practice of integrating cultural traditions expressive of the dynamics of decolonization with the experiment in reconfiguring the local body—a practice that positions the theatre in Taiwan as an experimental and cathartic site for pursuing an epistemological change in identity formation. Thus, the theatre constitutes a performance of a necessary identity-burdened space between history and memory, struggling to renew itself in distinctive contexts.  相似文献   

11.
This article explores the textual connections between two narratives: Ibn ufayl's (581/1185–6) Risālat ayy ibn Yaqān and a brief history of religions present in two works – the General Estoria and the Stenario – produced in the Castilian court of king Alfonso X (1221–1284). Both literary narratives deal with the intersection of philosophy and metaphysics. First, Alfonso X's cultural renaissance is contextualized. Under Arabic influence, Alfonso's collaborators created a cultural synthesis that was denounced by his son Sancho in the 1290s. Second, we compare Ibn ufayl's and Alfonso X's narratives. Ibn ufayl's model was probably adapted to justify a cultural programme that blended Christianity and Pagan inheritance. Unfortunately, there is no physical evidence to prove that Alfonso's circle was familiar with Ibn ufayl's work. Nevertheless, the analysis of a common genre – following A.W. Hughes's theory – allows us to contend that Alfonso X reproduced this type of text within a Christian context.  相似文献   

12.
This paper deals with Dutch scholarship on Muslim Spain during three periods of Dutch history: the Reformation, Romanticism and the last quarter of the twentieth century. The interest of Dutch scholars in Muslim Spain is related to general preoccupations of each of these periods. The popularity of Ibn ufayl's ayy ibn Yaqān among Dutch readers in the seventeenth and eighteenth century is linked to the contemporary debate on the relationship between reason and religion. The interest of nineteenth century scholars as Reinhart Dozy in al‐Andalus is related to a general European trend: Romantic interest in the Middle Ages and the Orient. Most attention is devoted to Dutch scholars of Muslim Spain of the last quarter of the twentieth century. Their conclusions are evaluated in the light of the popular Dutch notion of al‐Andalus as a perfect multicultural society.  相似文献   

13.
In current sociological literature the relationship between social inequality and patterns of cultural taste and consumption is the subject of a large and complex debate. In this paper the primary aim is to examine, in the light of empirical results from a research project in which the authors are presently engaged, three main, and rival, positions that have been taken up in this debate, here labelled as the ‘homology’, the ‘individualization’ and the ‘omnivore–univore’ arguments. Elsewhere, we have concentrated on musical consumption in England, and find evidence that is broadly supportive of the omnivore–univore argument. Here we ask whether such findings are confirmed in the case of theatre, dance and cinema attendance. A secondary aim of the paper is to bring to the attention of practitioners in the field of cultural policy and administration the need to address the issues that arise through the use of more powerful methods of data analysis than those often applied in the past. We explain how indicators of theatre, dance and cinema attendance derived from the Arts in England survey of 2001 can be subject to analysis so as to reveal two distinctive patterns of attendance and, in turn, two distinctive types of consumer—who can, it turns out, be regarded as omnivores and univores, even if with some qualification. The former have relatively high rates of attendance at all kinds of the events covered, including musicals and pantomimes as well as plays and ballet, while the latter tend to be cinema-goers only, that is, non-consumers of theatre and dance. A range of measures of social inequality are then introduced into the authors' analyses, including separate measures of social class and social status and also of educational level and income, and it is further shown that, again in conformity with the omnivore–univore argument, these two types of consumer are socially stratified. Omnivores are of generally higher social status than univores and also have usually higher levels of education and higher income than do univores (the latter finding marking the main difference with musical consumption, which was unaffected by income once other stratification variables were controlled). In sum, our results for theatre, dance and cinema attendance lend, overall, further support to the omnivore–univore argument as against its rivals, but also indicate that different aspects of social inequality impact on different forms of cultural consumption in varying degrees and probably through largely separate processes.  相似文献   

14.
《Popular Communication》2013,11(4):229-252
Despite both the economic success and shear spectacle of television shopping, very little research has looked at what keeps millions of viewers tuned in to what could be considered nothing more than networks devoted to a constant stream of advertisements. Building on the theoretical framework of parasocial interactions, this article devises a typology of television shopping viewers based on in-depth interviews conducted with audience members that range from heavy to light in terms of their viewing patterns. Audience members fall into 3 different categories of viewer-shoppers: skeptical-ironic, practical-hesitant, and expert-compulsive. Each of these categories of viewer-shoppers negotiated different meanings of television shopping programming that challenge ideas about isolated individuals who turn to television shopping networks primarily for companionship.  相似文献   

15.
The definition of the Korean national cinema in the course of modern and contemporary history of South Korea has provoked controversy. This article examines the negotiations in the identity formation of Korean filmmakers examining specific objects from years of reconstruction following the Korean War. It pays attention to the time when state-building and nation-building became combined enduring heterogeneity of this process. Kim Ki-yo?ng's films depict such characters. His public information short films reflect the legacy of American war films. However, they also contain self-conscious moments when the director refuses to be identified as a mere successor of American documentary filmmakers. Kim's first commercial film, Boxes of Death (1955), an anti-communist thriller, shows great influence from Hollywood, but also with a strong auteurist impulse, theatrical tradition, and the Japanese colonial legacy. However, the most important aspect is the standing presence of America and the USIS-Korea in the identity of Kim Ki-yo?ng and his film. American agencies intervened in the work of Korean filmmakers in the interest of “Free World” bloc-building, and those filmmakers used such agencies to obtain resources. The heterogeneity in the process of the subject formation in Korean national cinema was one common characteristic of many filmmakers of the post-Korean War era.  相似文献   

16.
The Byzantine emperor Theophilus (829–842) is recorded as having commissioned a palace in the style of contemporary Abbāsid palaces in Baghdad near Constantinople, making it an important instance in the visual cultural exchange between Byzantium and Islamdom. One widely held explanation suggests that Theophilus had a taste for the arts of Islamdom. This paper argues that the Abbāsid‐style palace of Theophilus should be placed in the context of contemporary political events and Theophilus's architectural patronage. The palace can then be seen as the product of Byzantine‐Muslim political and cultural rivalry mediated by an increasingly shared culture of objects that included architectural concepts.  相似文献   

17.
Tony Bennett 《Cultural Trends》2006,15(2-3):193-212
The literature on cultural capital has had relatively little to say about television viewing, except insofar as television has served as a negative point of reference in relation to which other cultural practices register their distinctiveness. This article, by contrast, examines the respects in which practices of distinction are operative within the space of broadcast television. Looking first at the ‘internal economy’ of television as expressed in the relations between genre, programme and channel preferences, it then examines how these preferences are related to occupational class, gender, level of education and ethnicity. While showing that divisions within the space of broadcasting are most powerfully articulated in terms of age and gender, the article also shows that occupational class and level of education play important roles in stratifying television audiences along traditional ‘high’/‘low’ lines. A closer analysis of the relations between these variables reveals more complex patterns of distinction, particularly in the place occupied by ‘new drama’ and ‘new comedy’ in the preferences of younger, well-educated viewers.  相似文献   

18.
Ian Huffer 《Cultural Trends》2017,26(2):138-154
It has been argued that the circulation of film online is a “democratising process”, evident in the breadth and depth of international film now available online, and in the greater ease of access to this content for audiences across the world. This is seen by some to present greater commercial opportunities for film-making from countries marginalised by previous distribution networks, and to foster a more globally diverse and inclusive film-viewing culture, with particular benefits for diasporic populations. Others, however, have pointed to the way in which audiences’ engagement with film online may be constrained by the economics and technology of online distribution and cultural competencies rooted in social stratification. These factors may limit how and what audiences watch, extending beyond issues of physical access to those of cultural access. As such, they raise questions regarding the demographic composition of the audience for online methods of film distribution and different types of international film. We lack sufficient understanding of these issues, however, due to the limited emphasis upon socio-demographic variables in existing academic research into online film consumption, and the limited consideration of particular film content in relevant market research. This article uses original audience research to interrogate the extent to which online distribution is able to connect audiences to a diversity of international film in comparison to other methods of distribution. It also considers some of the socio-demographic characteristics of the audiences for different methods of distribution and types of international film. In doing so, the article grants us a clearer understanding of the degree to which online film distribution fosters diversity and inclusivity through the connections it facilitates between audiences and content.  相似文献   

19.
The Malayan Film Unit (MFU), a film organization affiliated to the British colonial government, produced a large number of anti-communist films accompanied by multilingual recordings and commentaries. The ultimate goal of the MFU was to interpellate Malayan identity in order to eradicate the threat posed by communist ideology during the Cold War era. This article considers films made by the MFU alongside Cold War archival materials gathered from the UK and Singapore, and reportage on the MFU in the US, UK and local newspapers of the time. It will explore how Malayan communists and Chinese New Villages settlers were represented in semi-realistic/semi-fictional moving images during the Cold War period. This article aims to reconsider the question of whether the aim of the MFU really was to hasten the end of empire, or if it was an extension of the imperialist machinery of state in South-East Asia.  相似文献   

20.
Live theatre in Britain is performed by a host of companies in purpose‐built theatres as well as ad hoc venues. Theatre performances take place all over the country, in rural settings as well as urban environments, and no one will be more than 30 miles from a performance of some sort at some time in the year. In a typical year, over one third of the adult population attend live theatre, and 6 per cent attend opera or ballet, which tend to be presented in urban centres. The Department for Culture, Media and Sport sets store on the importance of the cultural sector and is encouraging arts organisations to develop new audiences in a host of ways.

This chapter of Cultural Trends reviews the available statistics for theatre attendance, considering raw numbers of attenders, ticket revenue, ticket prices and the types of work which are most popular in London and elsewhere. It identifies the sources of information available, although it asserts that the available data are insufficient to describe the sector fully. While pointing out that regional theatre is clearly targeting the future audiences, with as many as one quarter of its performances being aimed directly at young attenders, the chapter also indicates the extent of reliance, especially in the West End of London, on musicals.

An analysis of ticket prices shows that these have been, and are, rising faster than inflation. Coupled with the fact that, in the regions at least, it remains the older and better‐educated who attend theatre, this does nothing to diminish the concern that theatre may increasingly become the activity of a narrowing band of society, and that it is becoming less and less available to the broad spectrum of the population.  相似文献   


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