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1.
This study examined cultural reflections online of audience comments on social network sites regarding vocal talent shows in China and the United States. The study applied dimensions of cross culture to investigate audience comments on the official social networking sites of The Voice of China and The Voice. Findings reflect Hofstede’s dimensions as applied to social media and illustrate how individuals alter their “local” cultural norms in the new media environment. The study specifically enhances the exploration of cultural manifestations in cyberspace, which fewer cross-cultural studies have researched.  相似文献   

2.
Many authors have pointed to the internet’s potential to increase connectivity across the world, which would imply an equalizing effect, yet few researchers have examined this. At the same time, the increasing usage of social media by popular culture celebrities for self-promotion has been signaled. We study the extent to which social media can reduce inequalities in mainstream media attention between artists from central cities in popular music production (e.g., New York, London) versus more peripheral cities. We distinguish between media attention by institutionally embedded music critics and lay users on the internet. The results show that artists coming from more central cities have higher chances to get attention in mainstream media—both by institutional critics and lay users—than artists from peripheral cities. Building a fan base on social media such as Facebook, Twitter, or MySpace can compensate for some of this inequality, but not for all of it.  相似文献   

3.
Research indicates that immigrant and refugee students benefit from use of their native languages in education. Nevertheless, what this means in practice has infrequently been examined by researchers, and teachers often struggle to find ways to use their refugee students’ native languages as resources that encourage the development of the native languages as well as academic language and literacy in the new language. This small-scale, exploratory project employed an innovative, five-day critical media literacy curricular unit, and then examined how it served as a context for native language and English literacy development. Participants were 14 adolescent newcomers to the U.S. from Somalia, Kenya, Djibouti, and Ethiopia, all speakers of Somali with limited or interrupted formal schooling experiences. Participants had varying but mostly beginning levels of print literacy skills; yet as recent migrants, most used social media to interact with others locally and globally, in multiple languages, oral and written. As described here, our efforts to foster peer-to-peer Somali language communication resulted in multilingual interaction across a range of social and academic purposes in the classroom. These research findings highlight how in-class use of social media analysis can serve to achieve multilingual and (critical) literacy learning aims.  相似文献   

4.
Abstract

This paper examines the construction of working‐class Mat Motor (Malay biker) masculinity and queer desire in/through KL Menjerit, a commercial biker film that exudes the unmistakably aura of working‐class kejantanan (masculinity). Specifically, I focus on how the film – or more precisely the ‘queer moments’ it contains – resonates in ways that are not necessarily obvious to the disinterested heterosexual public eye. The discussion takes into account both filmic elements and the sexual geography of Kuala Lumpur (KL), where shifting biker spaces sometimes intersect with homosexual cruising sites. My argument is that the film’s representation of the Mat Motor protagonist as unbendingly straight and heterosexually jantan – while imaginably gratifying to the core audience of Mat Motors – actually belies the opposite reality of KL’s ‘forgotten’ underside, where gender and sexuality are much more fluid and malleable than is sanctioned by society and the state.  相似文献   

5.
This paper uses cross-sectional data from the US Current Population Survey to examine employment behavior among artists before and after a major period of economic transition – the Great Recession. The analysis looks at employment behavior among artists as an occupational group compared to other creative class workers and analyzes trends in periods before, during and after the recession. The results suggest that as a result of the downturn, many artists changed occupations to non-arts-related work or left the workforce altogether; artists became self-employed, and new artists opted for self-employment over wage/salary work; artists were disproportionately adversely impacted – either unemployed or underemployed – than other types of workers. Level of educational attainment was a significant determinant of whether an artist maintained quality employment and stayed in the occupation of his choice; and gender and marital status had a bearing on artists' ability to remain employed as an artist and maintain quality employment. The analysis emphasizes the importance of examining specific occupations within the creative class before drawing broad conclusions pertaining to all occupations with this title. Future work will test the conclusions in this study by using longitudinal data on artists.  相似文献   

6.
The research in this article examines audience responses to a range of factual and reality genres. It takes as a starting point that television audiences do not experience news or documentary or reality TV in isolation but as part of a range of factual and reality programmes. Factual and reality programming includes a broad understanding of non-fictional programming on broadcast television, satellite, cable and digital television. The breakdown of factual and reality programming into specific genres includes news, current affairs, documentary, and reality programmes, with further sub genres applied within each of these categories. This article critically examines genre evaluation. The quantitative research in this article is based on two national representative surveys conducted in Britain and Sweden. In both Britain and Sweden, programme makers have moved towards a reliance on popular factual genres. In Britain this is across all channels, and in Sweden this is mainly concentrated on commercial channels. Whilst there is still a commitment to news, there is an increasing use of hybrid genres in an attempt to popularise factual output. The impact of this changing generic environment on audiences is that in both countries viewers have reacted by drawing a line between traditional and contemporary factual genres. It is precisely because of the redrawing of the factual map that viewers rely on traditional ways of evaluating genres as public and informative, or popular and entertaining. The data provides evidence that contributes to existing debate on television genre, public service broadcasting, and media literacy skills. The central argument in this article is that genre evaluation is connected with wider socio-cultural discourses on public service broadcasting and popular culture, and that these are common social and cultural values that are shared by national audiences in two Northern European countries.  相似文献   

7.
Abstract

This paper aims to explore the changes in creative activities of young people – especially in the alternative media – in Indonesia before and after Reformasi. It begins with the story of the dynamics of a student press, from my personal experience – which I believe is a typical form of student/youth movement in Indonesia – and how the student’s life obviously depends on the political situation, the university policy, and the dynamics of the student’s life at that particular time. Reformasi caused political change and freedom but simultaneously, and ironically, placed the student press in a state of meaninglessness, such that it was painfully forced for search for new meanings to keep it contextually relevant in the new era. I end the paper describing the latest form of the alternative media scene of Indonesian youth, whose focus is dramatically shifting from ‘big’ political issues to issues of the celebration of communities and self‐existence.  相似文献   

8.
《Popular Communication》2013,11(4):193-215
This article focuses on a Venezuelan telenovela, El País de las Mujeres (The Country of Women), broadcast to high ratings in Venezuela, Argentina, Peru, Puerto Rico, and the United States. Drawing on feminist media studies and cultural studies, I conducted textual analysis of the serial and in-depth interviews with the production team and audience members. I analyzed the production, mise-en-scene, and consumption of the representations of sexual harassment, domestic abuse, abortion, and homosexuality that are present in this telenovela's storylines. The analysis suggests that the inclusion of topics that have been part of the public debate for some time are accepted by viewers, whereas those that are controversial or not publicly discussed are not readily sanctioned by the audience. In addition, the study illustrates how telenovelas' stories and themes contribute to the public debate about social issues, and how production and consumption, traditionally represented as opposing forces, are deeply articulated.  相似文献   

9.
ABSTRACT

Previous research indicated that communication through media has been intertwined into immigrants’ everyday lives and become an essential part of their acculturating practices. However, no research has been conducted to examine how innovative, ethnic social media play a role in Chinese immigrants’ acculturation process in terms of social capital. In order to fill the research gap, a qualitative study was conducted to explore how Chinese immigrants use social messaging to accumulate social capitals to facilitate their acculturation process. Thirty face-to-face in-depth interviews were conducted among Chinese immigrants to collect data. Findings revealed that Chinese immigrants tend to consider acculturation as a complex and long process in which they navigate through and position themselves in the unfamiliar cultural system. The ethnic social medium – WeChat, and in particular, its social messaging plays an essential role in shaping Chinese immigrants’ acculturation experiences by assisting them in garnering both bonding and bridging social capitals.  相似文献   

10.
Abstract

This essay considers the role that art and history might play together in public history projects. It discusses public history not in terms of ‘learning lessons’, ‘public debate’ and ‘transferable skills’ but instead in terms of creative thinking in the public sphere. The essay draws upon the author’s experiences of working with artists on a series of exhibitions themed around the history of an arts centre’s late Georgian and Victorian buildings and their inhabitants in Sheffield. It explores the synergies between artistic and historical ways of knowing and argues that collaborations with artists provide an opportunity for academic historians to reengage the imaginative aspects of professional academic history. It also explores the value of art’s expressive power and its potential to pose new questions and suggest new answers for both public and historians’ understanding of the past.  相似文献   

11.
This article presents the Malay(sian)’s image in Indonesian media in the early days of the Indonesia–Malaysia conflict at the beginning of 1960s. The dispute started when Tunku Abdul Rahman announced his plan to include Singapore, Brunei, Sarawak and North Borneo into the Federation of Malaya. Yet Indonesia regarded it as the British’s neocolonialist project. Left-wing nationalists expressed their opposition to this plan in their daily, Bintang Timur, with illustrations made by Delsy Syamsumar (1935-2001). His artworks may represent how Malaysia was seen by Indonesian artists during the dispute. On the other hand, most of Syamsumar’s artworks demonstrate his sympathy with Azahari, Borneo’s local political leader, who staged the insurgence against the plan on 8 December 1962. This article intends to highlight Syamsumar’s pioneering artworks, picturing the Indonesia–Malaysia dispute published in Bintang Timur in December 1962.  相似文献   

12.
Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable.  相似文献   

13.
ABSTRACT

With live performance audience research frequently relying on cultural organisations to facilitate access to their audiences, this article addresses the issues involved in evidencing spectators’ responses via discursive methodologies. Recalling a series of empirical projects conducted over the past ten years with a range of theatre practitioners, it examines the conflicts involved in carrying out scholarly studies of audience reception against cultural organisations’ pressures to produce their own ongoing audience evaluations. Examining key concerns about audience research raised by creative practitioners in varying theatrical contexts, from site-specific to building-based work, it addresses the difficulties of understanding live performance reception and aesthetic experience via impact frameworks. It begins by situating these three operations in the context of Knowledge Exchange (KE) between academics within Higher Education Institutions (HEIs) and those in the creative industry sector.  相似文献   

14.
Abstract

After the New Order stepped down in 1998 and the Department of Information was closed down in 1999, the Indonesian government loosened their control on film regulation. At that time, theatres rarely screened Indonesian films and there had been no film festivals in Indonesia for a long period. Meanwhile, advanced digital technology had provided a digital film camera – for the non‐professional user – that more people could afford. Some young Indonesians believed that lots of Indonesians had a digital film camera and used them to make films, instead of just recording family gatherings. These youngsters – mostly from big cities – came from different backgrounds and usually met at alternative film screenings in foreign cultures centres or the Indonesian Cinematheque. Most were well‐educated and dreamed of watching films from their own country. They therefore organized a film festival in 1999 under name ‘the Indonesia Independent Film‐Video Festival’. They chose a short‐film format for the festival because it was easier for common people to make a short film than a feature film with a digital camera. The organizer of the Indonesia Independent Film‐Video Festival established an organization in early 2000 named Konfiden. After 2000, Konfiden tried to promote Indonesian short films at international short‐film festivals such as the Oberhausen Short Film Festival and Tampere Short Film Festival. After 2002, Konfiden’s festival was not the only short film festival in Indonesia. Several film communities in Java started to organize short film festivals. The Konfiden’s next step is to build a film market, database, and to shape the quality for Indonesia short films.  相似文献   

15.
Hong Kong cinema is an emerging component of the booming Chinese film industry twenty years after the transfer of Hong Kong’s sovereignty from Britain to China. Hong Kong filmmakers and film companies now routinely collaborate with the mainland industry to produce for the mainland audience, prompting many creative artists and companies of the Hong Kong industry to relocate to the mainland. Based on the fundamental idea that both mainland Chinese cinema and Hong Kong cinema are constantly reshaping as a result of inter- and trans-cultural exchanges, this article adopts a bottom-up approach to re-examine the top-down-managed cultural nationalisation of Hong Kong cinema. Hong Kong (co-)produced films are increasingly devoid of local sensibilities and identities. Film companies and talents of the Hong Kong film industry, at least in the mainstream sector, are gradually incorporated into the film industry in the mainland. Notwithstanding these overwhelming tendencies, I suggest that Hong Kong cinema’s legacies exist beyond narrative strategies and genre approaches, and have started to show in film companies’ role in, and their capability of, challenging and reshaping the future of the Chinese screenscape. Specifically, through the examination of a series of film projects from Milkyway Image, a Hong Kong-based film production company, this article shows that Hong Kong cinema’s renationalisation is a process of simultaneous cooperation, negotiation, and resistance.  相似文献   

16.
Conversations surrounding relationships between media fans and media industries frequently categorize fans according to their degree of industrial incorporation or resistance, for instance, as either “affirmational” fans who uncritically celebrate media on industrial terms or “transformational” fans who engage in critical and non-sanctioned forms of participation. Drawing on interviews with participants in the Veronica Mars Kickstarter campaign, this article connects rhetoric used by these fans to longstanding issues around patronage in fine arts, arguing these historical discourses provide a way to deepen our understanding of how fan audiences relate to media industry interests. The complex, asymmetrical relations that exist between patrons and artists they sponsor offer a valuable model for a type of fandom experience that does not fit neatly into the existing typology.  相似文献   

17.
The review looks at the 2008 report by the Scottish Arts Council (SAC) into audience involvement in the arts and culture in Scotland. It notes that the research is part of a continuing attempt by the SAC to map trends in audience participation in the arts, and that the survey often provides an in-depth account of how people spend their leisure time. However, it notes some deficiencies in its remit and questions whether the limitations of the report make it a valuable contribution to the SAC's future direction and policies.  相似文献   

18.
Identity formation is a critical process shaping the lives of adolescents and can present distinct challenges for Black adolescent girls who are positioned in society to negotiate ideals of self when presented with false and incomplete images representing Black girlhood. Researchers have found distorted images of Black femininity derived from history, including the mammy, jezebel, and Sapphire, are still pervasive in contemporary media outlets that are often viewed by adolescent girls. The current qualitative interview study examined literate interpretations of current media representations depicting Black girlhood from eight adolescent girls. Findings show that participants believed that Black girlhood is portrayed as being judged by their hair; is seen as angry, loud, and violent; and is sexualized.

?Following the interview, the girls used their pens to write against each of these portrayals and also to write toward social change. The ways the girls desired to be represented were in opposition to the ways they felt society and media viewed them. Their responses and literary writings suggest that Black adolescent girls need spaces to negotiate depictions of self and identity.  相似文献   

19.
ABSTRACT

In 2017 the Donmar Warehouse presented The Tempest to women prisoners at HMP New Hall, UK. The production was part of a trilogy of Shakespeare plays directed by Phyllida Lloyd, each staged with an all-female cast and each set within a women’s prison. Over the five years of developing this trilogy the Donmar undertook extensive research and development into the prison context, including in collaboration with York St John University’s Prison Partnership Project. This paper explores the prison audiences’ experiences of The Tempest, examining how they responded to seeing their own lived experiences on stage, filtered through the prism of Shakespearian plot, characterisation and language. In particular, this paper focuses on moments of identification, where the women found direct resonance and self-recognition with the characters and experiences in The Tempest. At the same time it draws on discourses from dramatherapy and aesthetic theory to argue for the importance of various forms of emotional, empathetic and psychical distance. Using close analysis of the spectators’ responses, it describes how for the prison audience the result was an oscillation between identification and distance, a reading of “me but more than me” that produced a powerful affective and reflective impact.  相似文献   

20.
ABSTRACT

Despite widespread assertions as to the ‘Americanization’ of British culture in the first half of the twentieth century, the true extent of this cultural transfer remains open to question. This article considers what the British people actually knew about ‘America’, its institutions, culture and way of life, in this period through an analysis of coverage of the USA in the British news media (press, newsreels and wireless) in the inter-war years. Specific attention is paid to the attempts of the BBC – in particular through the broadcasting work of Raymond Gram Swing and Alistair Cooke – to provide an understanding of contemporary America beyond the widely cited stereotypes of ‘Chicago gangsters and Hollywood blondes'.  相似文献   

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