共查询到20条相似文献，搜索用时 15 毫秒
1.
Paul Elliott Johnson 《Critical Studies in Media Communication》2017,34(1):14-28
This essay situates the television show Breaking Bad (BB) and its critical reception in the context of American politics following the economic and political events of 2008. Reading the show as an allegory, I demonstrate that it offered a pathway for viewers to maintain investments and commitments to a toxic, white masculinity threatened by 2008’s economic and political dislocations. Taking the show up for its capacity to allegorize the human experience, Breaking Bad’s critically acclaimed status among viewers from widely divergent political positions suggests that the investment in raced and gendered ideas of individual freedom crosses partisan lines, indicating that American national identity and white masculinity share a mutually sustaining incoherence. Understanding the cultural roots of American victimage evident in post-2008 America helps explain how BB distinguished itself from similar masculine “anti-hero” dramas. 相似文献
2.
R. Colin Tait 《The Communication Review》2014,17(3):166-182
The key to Will Ferrell’s success is his genuinely likeable comic persona that relies on overdetermined and excessively masculine and feminine traits. Accordingly, this article argues that despite criticism surrounding Ferrell’s comedic films, they actually have a great deal to tell us about masculinity and comedy in the new millennium. By discussing Anchorman, Elf, and Talledega Nights: The Ballad of Ricky Bobby, the author asserts that Ferrell’s films map changes to masculine identity in the post-9/11 era by their representations of absurd masculinity embodied in Ferrell’s comic persona. 相似文献
3.
Present study critically investigates the cinematic depiction of leading Chinese masculine figures in Hollywood film productions, with a specific focus on how the positioning of white female characters romantically involved with Chinese martial arts fighters serves to construct Chinese masculinity. In noted films such as The Tuxedo (2002), Kiss of the Dragon (2001), and Dragon: Bruce Lee Story (1993), Chinese martial arts fighters not only managed to fight off white antagonists but also succeeded in winning the ‘heart’ of white heroines. Drawing on Gestner's theoretical assertion that white women's falling for a man of color signifies the invasive movement of a new masculine discourse into the space traditionally bounded by the ideal of white masculinity, and grounded on Hall's conception of articulation, my critical examination of these three film texts revealed how the privileged cultural and racial position of whiteness was reformulated and rejustified via the strategic dramatic construction of romantic encounters between Chinese martial artists and their white partners. More importantly, the current study sheds light on an emerging form of cultural politics that transformed conventional mediated construction of interracial romance and yet perpetuated the racial hierarchy sustained through racist assumption and ideology. 相似文献
4.
《Qualitative Research Reports in Communication》2013,14(1):46-61
This essay will provide further insight into how Black audiences interpret a popular culture text by focusing upon how a group of young black men construct Black masculinity as depicted in the film Barbershop. Interestingly, a rhetorical community of young Black men discussed the representations of the characters in the film from a perspective of Black individualism rather than reaffirming identity through a collective orientation toward the culture. This reading contrasts with much of the “ghettocentric” film literature by highlighting how a Black audience's interpretation of a text can focus on individualism rather than on cultural representations and stereotypes. 相似文献
5.
This paper explores how Will & Grace, which has been heralded in the popular press for its positive representations of gay men, situates the potentially controversial issue of homosexuality within safe and familiar popular culture conventions, particularly those of the situation comedy genre. This paper draws on feminist and queer theory to examine the liabilities of relying on these familiar situation comedy conventions, demonstrating how the program equates gayness with a lack of masculinity, relies on sexual tension and delayed consummation, infantilizes the program's most potentially subversive characters, and emphasisizes characters' interpersonal relationships rather than the characters' connection to the larger social world. Additionally it argues that by inviting mainstream audiences to read the program within familiar televisual frames, Will & Grace can be read as reinforcing heterosexism and, thus, can be seen as heteronormative. 相似文献
6.
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
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Shoshana Magnet 《The Communication Review》2018,21(2):116-130
What does it mean to represent insect sexualities? What are the technologies that one uses to make insect bodies visible? In this article, I examine two series in order to examine representations of insect sexualities. In the documentary Life in the Undergrowth, famed British broadcaster and naturalist Sir David Attenborough’s hushed tones tell us that new technologies of seeing are making new worlds visible. In the second, Isabella Rossellini stars in the series Green Porno, in which she uses biologically accurate costumes to blow up insect bodies to human size, using the costumes as technologies of seeing to help her audience visualize how insects have sex. Here, the costumes themselves become ways of knowing insect bodies while simultaneously rendering them as spectacular media moments. I rely upon feminist media studies of representations of wildlife to ask how assumptions around gender and sexuality continue to shape contemporary depictions of the insect world in Sir David Attenborough’s series Life in the Undergrowth, whereas I argue that Green Porno represents a queering of traditional documentaries on insects and examine what possibilities this might provide us with for rethinking insect sexualities—from monogamy and heterosexual reproduction to S/M, queer sex, and polyamory. 相似文献
9.
David C. Oh 《Critical Studies in Media Communication》2018,35(4):350-362
Better Late than Never is a remake of a Korean reality T.V. travel show, which aired on N.B.C. in August 2016. The show’s premise features four elder celebrity men – Henry Winkler, William Shatner, Terry Bradshaw, and George Foreman – with their mid-30s companion Jeff Dye as they travel through the “exotic” lands of East Asia. Through the use of two popular narrative tropes, the bromance and the Western journey for self-discovery in Asia, the show argues that the interaction with the Asian other is beneficial primarily in masculine self-discovery and masculine homosocial bonding. Borrowing from Steeves’s use of the hybrid encounter, I argue that B.L.T.N. positions the strange Asian other as valuable only as a reference for becoming reacquainted with the U.S. American self and emotionally connected to his fraternal companions. Thus, B.L.T.N. rejects hybridity and reinforces U.S. American masculinity through the reification of ideologically preferred contact with the other that is shallow and that benefits the Western traveler. 相似文献
10.
Helene A. Shugart 《Critical Studies in Media Communication》2013,30(1):67-91
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
11.
《Journal of Applied Communication Research》2012,40(6):706-725
ABSTRACTThis thematic analysis of 510 news articles – spanning the leftist-rightist ideological spectrum – examines media rhetoric surrounding President Trump’s 27 January 2017 Executive Order (EO) 13769 barring immigrants and refugees from U.S. resettlement. In this article, I examine how both liberal and conservative news media rhetoric reinforce respectability politics that create a hierarchy of victimhood for those affected by the EO. Interrogating U.S. civil society’s discursive construction of the forced migrant, I expose expectations for appropriate roles for these communities seeking asylum, though these roles are often veiled by normative U.S. mythology. As this analysis illustrates, the news media articles’ discursive erasure of Syrian, Iranian, Sudanese, Iraqi, Libyan, Somali, and Yemeni immigrants and refugees elide forced migrant self-representation and neglect the political/historical reasons for fleeing from their nations of origin. 相似文献
12.
Michael L. Butterworth 《Critical Studies in Media Communication》2013,30(3):228-244
News media in the United States often present sports figures as ideal representations of heroism. In the U.S., heroism has long been linked to frontier mythology, which celebrates the rugged individualist. This figure privileges a construction of heroism based on strength, masculinity, and a white ideal associated with American exceptionalism. Accordingly, in affirming the promise of the American dream, sports media often devalue racial inclusion. To show how heroism in contemporary American culture is a mythological enactment of whiteness, I analyze news media accounts of the 1998 home run race between Mark McGwire and Sammy Sosa. 相似文献
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Sara De Benedictis Catherine Johnson Julie Roberts Helen Spiby 《Critical Studies in Media Communication》2019,36(1):1-17
This article explores birth representations through a content analysis of two seasons of the U.K. program, One Born Every Minute (OBEM) (Channel 4, 2010–). Reality television (RTV) has been a fertile ground for the mediation of birth, but has also stoked controversy among feminist critics and the birth community about how birth is represented and the impacts this might have for women and society. International research has explored problematic over-representation of white, heterosexual couples, as well as noting a predominance of medicalized birth experiences. However, this research is formed largely of qualitative studies that are necessarily based on small samples of episodes. To contribute to this literature, we apply a quantitative and interdisciplinary lens through a content analysis of two seasons of the U.K. version of OBEM. Paying attention to the geographical and temporal context of OBEM, this article confirms over-representation of white, heterosexual couples and medicalized birth on RTV birth shows while also providing novel insights into the ambiguous representation of birthplace and lead caregivers, the medicalization of birth through the routinization of supposedly minor birth interventions, and the absence of the representation of women’s choice over such interventions. 相似文献
15.
Sean Brayton 《传播与批判/文化研究》2017,14(1):66-82
This paper examines representations of mental illness in popular film, particularly Richard Ayoade’s The Double and Dan Gilroy’s Nightcrawler. As I argue, both films trouble typical Hollywood narratives of mental illness by situating schizophrenia and psychopathy, for instance, within a socioeconomic context, specifically relations of production under late capitalism and the unfettered self-interest of neoliberalism. If mental illness is a product of the postindustrial workplace in The Double, it becomes a prerequisite for success in Nightcrawler, providing a cinematic depiction of mental illness at odds with the “personal pathology” paradigm that dominates the current neoliberal landscape. 相似文献
16.
Susana Martínez Guillem Christopher C. Barnes 《Critical Studies in Media Communication》2018,35(3):286-299
In this article we locate, interpret, and critique the figure of the “bad” white mother, focusing on the critically acclaimed AMC drama, Mad Men. Advancing feminist and postcolonial approaches to myth, we uncover a prevailing “white consciousness” that relies on racializing logics in, first of all, Mad Men’s representations of (white) motherhood through the character of Betty Draper, and second, public discussions of the show in academic and media outlets. Drawing on Black feminist thought, we propose that these discourses rely on and feed underlying assumptions that support post(racial)feminism—an ideological location that allows for the explicit embracement of “bad” mothering as a progressive, even transgressive act that, at the same time, implicitly relies on expectations for (good) mothering shaped by white privilege. This cross-pollination between postfeminism and whiteness, we argue, is especially important to engage, since it carries potentially limiting implications for our collective imagination about what anti-racist and feminist struggles should entail. 相似文献
17.
Karen C. Pitcher 《Critical Studies in Media Communication》2013,30(3):200-218
This paper addresses the ambivalence produced by Girls Gone Wild (GGW) as both text and social practice by interrogating the ways in which it functions hegemonically by staging an effect of agency. I draw on Bakhtin's notion of the carnivalesque as a means to examine how contradictory spatio-temporal contexts of GGW function as spaces that offer the opportunity to momentarily transgress—yet simultaneously reify—white, bourgeois norms of femininity. The videos reinforce a neoliberalist mentality of personal responsibility through the inclusion of the consent—and dissent—processes on camera. After analyzing how postfeminist discourses emphasizing “individual choice” justify GGW as a mode of female empowerment, I turn to a complementary textual analysis of GGW's role-reversal counterpart, Guys Gone Wild (2004), in an effort to show the ways in which this “mirror image” text ultimately reinforces the structure of exploitation in the original. 相似文献
18.
Tamera Mowry-Housely and Tia Mowery-Hardrict first gained popularity with their 1990s sitcom Sister Sister and re-entered the limelight in 2011 with the Tia &; Tamera reality show. During the opening scene of season one, Tamera disclosed that she was referred to as a “white man’s whore” on social media. By using critical discourse analysis, we examine how producers on Tia and Tamera and Oprah: Where Are They Now? employ this trope to construct Tamera in a particular way and reinforce postracial storylines. 相似文献
19.
Claire Shinhea Lee 《亚洲交流杂志》2013,23(4):353-371
This study investigates the ideological implications of Nambowon (‘the Committee for Men's Rights’), one of the most popular sketches in a live comedy series entitled Gag Concert in Korea. The sketch humorously criticizes women who take advantage of men in various situations and always ends with a funny slogan demanding equal rights for men and the end of reverse gender discrimination. We treat Nambowon not as an idiosyncratic text but as part of Korean television programs that portray the rising social status of women as well as gender differences. Previous studies of gender and comedy have typically focused on textual meanings, and relatively little work exists to explain the audience's reception. Thus, we explore why audiences enjoy the show and whether and why there are differences in the reactions of male and female viewers to the portrayal of gender in Nambowon. 相似文献
20.
Meg Tully 《Critical Studies in Media Communication》2018,35(2):194-207
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