共查询到20条相似文献，搜索用时 15 毫秒
1.
Jennifer Stevens Aubrey 《Mass Communication and Society》2013,16(4):475-501
Although sexual objectification is commonplace in media culture, music videos provide the most potent examples of it. In the current study, we developed a coding system to measure sexual objectification and its correlates in music videos. Our analysis compared sexual objectification across artists' gender and musical genres (R&B/hip-hop, pop, and country). Compared to male artists, female artists were more sexually objectified, held to stricter appearance standards, and more likely to demonstrate sexually alluring behavior. In addition, sexual objectification was more prominent in R&B/hip-hop and pop videos than in country videos. The results are discussed in light of objectification theory and sexual agency. 相似文献
2.
What conservation strategies can be used for Tino Sehgal's 2005 work This Is So Contemporary, and what are their relations to oral traditions? Sehgal's art leaves no material traces, as the artist resists the use of photos and videos acting as a documentary surrogate for his work. This paper will explore how Sehgal's non-written documentation strategies connect to the work of Yumutjin Wunungmurra, a contemporary artist and ceremonial leader from Northeast Arnhem Land, Australia. The connection will be tracked through the role of caretaker and custodian that features in the workflow of both artists. The paper asks whether the performance-based strategies discussed can support the notion of conservation as a social process with multiple stakeholders. 相似文献
3.
Jennifer C. Lena 《传播与批判/文化研究》2013,10(3):264-279
Longstanding explanations of the controlling effect of white consumers/producers on minority production can obscure the negotiation and struggle of artists over their images, and particularly the ways in which dominant ideologies can be disarticulated from their meanings and rearticulated as critical observations on contemporary social relations. Rap group dead prez's video for the song “Hell Yeah!” is most accurately read from the perspective of articulation theory, since the group's oppositional use of the “gaze” reworks dominant representational discourses of race and class. 相似文献
4.
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
5.
《Journalism Practice》2013,7(1):80-95
Piracy off Somalia's coast has gained the imagination of the public and the attention of the media. Using critical discourse analysis, this paper considers stories about Somali piracy on the international BBC news website. A twin analysis is undertaken to determine how those involved in piracy and their actions are represented as well as how macro-discursive strategies of legitimation are employed. An historical contextualisation of Somalia and piracy complements the analysis. These analyses reveal how news stories do not focus on Somalis but on negative representations of pirates and positive representations of Western military powers. A number of linguistic strategies are identified that emphasise Western powers and articulate discourses that legitimate the continuing presence and actions of Western militaries. These discourses are drawn upon at the expense of discourses sympathetic to the plight of Somalis. These findings not only call into question the BBC's claims to objectivity, but also highlight the fact that stories do not promote conditions suitable for an end to piracy. 相似文献
6.
The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print. 相似文献
7.
Deanna D. Sellnow 《Communication Studies》2013,64(1-2):46-61
This essay analyzes certain aspects of the music of Bruce Springsteen to determine the impact of rhetorical strategies of continuity and change on musical artists’ appeal over time. Three general observations emerged from this analysis. First, Bruce Springsteen's musical stories and styles have undergone several disjunctive shifts during the course of his career. In making these shifts, Springsteen has remained true to himself as a maturing adult without sacrificing listener appeal. Second, musical score strongly impacts the ultimate message conveyed depending on whether it emotionally reinforces or contradicts the lyrical message. Finally, other musical performers should be mindful of the effect of their rhetorical choices regarding (a) the intensity and release patterns they use within a musical score and (b) why, when, and where they might allow their stories or styles to shift, and what effect those shifts are likely to have on the integrated messages they are attempting to communicate. 相似文献
8.
SALLY ANNE DUNCAN 《Curator: The Museum Journal》2002,45(2):93-108
A recent lecture series at the Harvard University Art Museums titled “Art Museums and the Public Trust” marked the eightieth anniversary of the founding of Harvard's famed Museum Course. A graduate seminar begun in 1921 by the Fogg Art Museum's associate director, Paul J. Sachs, the Museum Course became the primary training ground for art museum leadership in the first half of the twentieth century. The 2001 commemorative lecture series was intended to foster a healthy debate on the place of the art museum in Anglo‐American culture. Instead, the speakers, veteran directors of America's and England's most prestigious art museums, invariably returned to one concern: authority—theirs and that of the art museum itself in contemporary society. Authority was at the heart of the Museum Course decades earlier, tellingly explored in annual debates around two significant topics. The first debate involved the pros and cons of including period rooms in American museums. In the second, students argued about whether America's established art institutions should collect the work of living artists. Questions of how museums should respond to the interests of audiences and communities, their responsibility to contemporary artists, and the meaning of a public trust trouble America's museum leadership now as then. This article explores the common ground between the Museum Course debates of the 1930s and Harvard's recent commemorative “debates” by America's contemporary museum leaders and comments on its significance for today's museums. 相似文献
9.
Kimberlianne Podlas 《广播与电子媒介杂志》2015,59(1):41-56
As the use of popular music in political campaigns has skyrocketed, so have complaints by musical artists who do not want their songs associated with candidates they do not support. Recently, musical artists have asserted that this constitutes trademark infringement by falsely suggesting that they endorse a candidate. Relying on court decisions and statutes, this article analyzes song-based performer trademarks and whether campaign's uses of music constitute infringement. Ultimately, this article concludes that typically musical compositions and sound recordings cannot be used as performer trademarks and, in any event, political uses would not amount to infringement. 相似文献
10.
《The Journal of Academic Librarianship》2020,46(2):102128
Academic librarians have been wrestling with faculty status and rank for many decades and their dual identities as professionals and faculty made their identity representations in the online profile environment designed by colleges and universities even more complicated. Misrepresentation or insufficient representation of academic librarians' identities could lead to jeopardy of their public images within colleges and universities, or even trigger suspicion that academic librarians bring an impediment to academic standards by achieving less or none. Therefore, this study surveyed library faculty's online profiles within the libraries of the City University of New York and tried to assess whether library faculty are represented as who they are. The results revealed three categories of profiles: Business-Card Profiles, Quasi-Faculty Profiles, and Full-Level Faculty Profiles, which brought out the discussion about business identification, the creative Me, and the collective We, as well as their relations to institutional culture. 相似文献
11.
Casey Ryan Kelly 《传播与批判/文化研究》2018,15(2):161-178
American cinema has recently favored representations of white men as victims of socioeconomic and political change. Recent scholarship on white masculinity suggests that representations of male victimhood enable white men to disavow that hegemonic white masculinity still fundamentally structures society. This essay argues that Hollywood’s wounded man similarly provides white masculinity with stable footing. I illustrate how the unintelligibility of screen masculinity evades criticism and, further, how melancholic male dramas nurture a traumatic attachment to victimhood. Examining the film Foxcatcher (2014), I show how unmasked portraits of white male victimhood function as counterparts to the hard-bodied action hero. The filmmaker’s effort to parse the distinction between material and superficial wounds reifies the experience of noble suffering as a superlative expression of aggrieved white manhood. Foxcatcher’s fragmented portrayal of white masculinity illustrates the elasticity of victimhood even where “crisis” suggests that white masculinity is open to revision. 相似文献
12.
《The Journal of Academic Librarianship》2020,46(6):102224
Despite the many existing efforts to recruit and retain a diverse workforce, the library field has remained disproportionally white. Instead of waiting for the system to change, underrepresented minority librarians can take a number of steps within their institutions to effect positive changes on predominantly white campuses. Using two mid-career librarians' experiences serving on their institution's diversity committee and as academic advisors and mentors to students, including international students and first-generation students, this article illustrates ways through which minority librarians can exert leadership and leverage their multitudinous identities, interests, and passions to make a difference. 相似文献
13.
Michelle M. Kazmer Robert L. Glueckauf Jinxuan Ma Kathleen Burnett 《Library & information science research》2013
Caregivers of older adults with dementia face significant challenges associated with their care recipients' condition and with their own mental and physical wellbeing. Qualitative research data were collected via interviews with caregivers who participated in the African-American Alzheimer's Caregiver Training and Support (ACTS) research project. Analysis of these data with a focus on information use indicated that participating caregivers' information use environments were shaped by key individuals, settings, and information sources. These included the ACTS counselors, ACTS intervention guidebook, fellow caregivers, use of a personal calendar/datebook, and the identification of key problems and development of goals to help ameliorate those problems. CBT groups fostered sharing, synthesizing, and validating information about dementia caregiving and dementia care resources; the ACTS CBT guidebook served as an important physical touchstone of reliable and portable information. Understanding the specific needs, behaviors, and constraints of African-American caregivers is important to the future development of information components of tailored, depression–reduction interventions. 相似文献
14.
《Journal of Radio & Audio Media》2013,20(1):18-32
The author examines radio programs produced by women in the U.S. that feature music by women. Women's music programming offers a variety of music genres and presentation styles. Criteria of music selection also vary, with some programs concentrating solely on women's contributions and musical works, and others that play music by mixed-sex groups and even featuring a male vocal. However, the commonality of all these programs lies in their dedication to highlighting women artists and giving voice to those who would otherwise not be heard. As media artifacts, women's music radio programs offer multiple layers of feminist inquiry. 相似文献
15.
16.
Mary Douglas Vavrus 《Critical Studies in Media Communication》2013,30(3):352-375
This essay examines television news treatments of stay-at-home dads (Mr. Moms)during the late 1990s and argues that these news accounts represent a challenge to more traditional masculine identities depicted in media. While offering a nominal challenge, however, these representations reinscribe significant aspects of patriarchal privilege within domestic space. Through a combination of discursive strategies compatible with the commercial needs of contemporary media organizations, television news programs' Mr. Moms operate ideologically to legitimate domesticity and nurturance as appropriately masculine. In so doing, they challenge some traditional notions about men while further solidifying a connection between these men and heterosexuality in the context of mainstream television news representations of middle-class family life in the contemporary United States. This process of legitimating nurturance and domesticity also and concurrently reverses the genders long articulated to particular advertising target segments within the commodity broadcast audience. This representational process reifies and naturalizes the class specificity of these Mr. Moms while it fuels television's continual need to produce and satisfy new audience niches in order to survive and compete in the media environment of today. 相似文献
17.
In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand. 相似文献
18.
Daniel Makagon 《传播与批判/文化研究》2013,10(1):26-52
Gentrification is one of the most important and talked about contemporary urban issues. Critics have tended to treat the class remake of urban neighborhoods as a geographical and sociological phenomenon. This article critically examines gentrification as symbolic action. Focusing on press coverage of artist-led gentrification, I argue that reporters present a diffusion narrative that casts artists as both urban pioneers and victims of gentrification and glosses over the function of artists as the first gentrifiers in some urban neighborhoods. Ultimately, press accounts of artists as victims of gentrification reflect an underlying desire to find and maintain bohemian spaces in the face of homogeneous and sterile corporate urban revitalization projects that have contributed to a broader sense of urban placelessness. Yet, this vision is based on a bohemian image of the city that consists of young white artists while stigmatizing (through a frontier discourse) the more diverse population(s) that lived and worked in the urban neighborhood prior to the arrival of the artists. 相似文献
19.
Stephanie E. Bor 《Media History》2013,19(4):464-478
This historical research describes the strategies used by the New York Times, Los Angeles Times, and several other periodicals to discuss the incorporation of Lucille Ball's pregnancy into her television sitcom, I Love Lucy. This important media event occurred in the early 1950s and marked the first time that an image of pregnancy and childbirth would be depicted on national television. Although the inclusion of sexual content in the mass media was highly controversial at the time of Ball's pregnancy, this analysis concluded that the press was generally favorable in its treatment of the topic. Journalists highlighted the popularity of the event, praised I Love Lucy creators for their sensitive treatment of the topic, and drew comparisons between characters' on-screen and off-screen lives. This research elucidates the emergence of representations of pregnancy and childbirth on television that are now commonly featured in modern broadcast programming. 相似文献
20.
Portia James 《Curator: The Museum Journal》1996,39(1):19-44
A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African-American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African-American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition-development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition-development process. 相似文献