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1.
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
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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
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Claire Sisco King 《传播与批判/文化研究》2013,10(4):366-385
Offering a critical interrogation of white masculinity within David Fincher's Fight Club (1999), this essay uncovers a key strategy through which hegemonic systems persist, positing the abject body as a trope for understanding the life of hegemonic ideological formations. Adopting the “interspace” of abjection allows hegemonic masculinity to become everything and nothing at the same time and is a “dangerous” strategy that must be denied at all costs. Insofar as hegemony requires its abjection to remain invisible, this essay names hegemonic masculinity “abject” in order to offer critical prophylaxis against white masculinity's attempts to reproduce its cultural privilege. 相似文献
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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
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Kristen Hoerl 《Critical Studies in Media Communication》2013,30(3):206-227
The 1995 movie Panther depicted the Black Panther Party for Self-Defense as a vibrant but ultimately doomed social movement for racial and economic justice during the late 1960s. Panther's narrative indicted the white-operated police for perpetuating violence against African-Americans and for undermining movements for black empowerment. As such, this film represented a rare source of filmic counter-memory that challenged hegemonic memories of U.S. race relations. Newspaper reports and reviews of Panther, however, questioned the film's veracity as a source of historical information. An analysis of these reviews and reports indicates the challenges counter-memories confront in popular culture. 相似文献
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Shannon M. Kahle 《The Communication Review》2013,16(4):274-293
This article focuses on the representation of the body in House, M.D. and suggests its usefulness as a metaphor for the view of the social body on which the series relies. The body in House, M.D. is the central occupation of the narrative, and it is around the body that the paired oppositions certainty/doubt and body/speech occur. In House, confessional speech is a regime of false knowledge while the body is privileged as the foundation of true knowledge—the province of the expert interpreter of the body. Through an exploration of these paired oppositions in the show's representation of medical practice, the author explores the series' model of the social in which the visual mediation of bodies is privileged as social hermeneutic and the intensification of mutual surveillance is the means of authentic interaction. 相似文献
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《图书馆管理杂志》2013,53(1-2):393-408
Abstract A survey was conducted in Spring 1999 to assess the library support services for distance learning within the Texas A&M University System. Graduate students actively enrolled at remote sites in one or more courses taught on the system's interactive video network were surveyed. Results of this survey provide insight for improving library services. “People want what they want when they want it. They don't want something else, they don't want less than they want, and they certainly don't want it at some other time” (Forsha, 1992). 相似文献
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Christine E. Crouse-Dick 《Communication Studies》2013,64(4):441-456
In this essay, I argue that a contemporized version of the “Angel in the House” narrative is present in Real Simple magazine. I demonstrate that nineteenth-century domestic themes have been reframed in Real Simple so that the home is no longer identified as a site intended for the pleasure of men; instead, it is identified as a personal sanctuary for the contemporary woman's respite and pleasure. I contend that while this revamped notion of the domestic angel may provide the reader with agency to privilege her own needs and desires, the modified narrative nevertheless reinforces the ideological notion of separate spheres—that the home is a woman's domain. 相似文献
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Courtney W. Bailey 《传播与批判/文化研究》2013,10(1):1-21
In late 2006 and early 2007, a high-profile celebrity scandal developed around Isaiah Washington's use of an anti-gay slur to describe his co-star T. R. Knight. The mainstream media coverage of this scandal positioned homophobia primarily in therapeutic and confessional terms, echoing the typical treatment of a celebrity's coming out. As the “angry black man,” Washington failed to satisfy the criteria for neoliberal citizenship and seemed to confirm white culture's fears about black masculinity. Knight, in contrast, emerged as a successful neoliberal citizen whose “difference” was safely contained. The debate thus shifted from the morality of homophobia to the morality and psychological health of the individual, determined through Washington's failed performance of honesty and Knight's successful one. As a result, heteronormativity and white privilege remained largely unnoticed within mainstream coverage of the scandal. 相似文献
13.
Dick Lupoff Don Thompson Warren Chappell Turner Catledge Hodding Corter Winzola McLendon 《Communication Booknotes Quarterly》2013,44(6):3-4
Dick Lupoff and Don Thompson All in Color For a Dime (Arlington House, 81 Centre Ave., New Rochelle, New York 10801, $11.95, or $7.95 from Nostalgia Book Club) Warren Chappell's A Short History of the Printed Word (Knopf, $12.50) Turner Catledge's My Life and The Times (Harper & Row, $10.00) Hodding Corter's Their Words Were Bullets: The Southern Press in War, Reconstruction, and Peace (University of Georgia Press, 04:00) Winzola McLendon and Scottie Smith's Don't Quote Me: Washington Newswomen and the Power society (Dutton, $5.95) 相似文献
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Antonieta Mercado 《Communication Teacher》2019,33(2):94-98
This activity highlights the concept of cultural hegemony, illustrating it by a reflection on the images of success and successful people portrayed in the media. The purpose of the exercise is to introduce students to this concept, and for them to examine how hegemonic views of others and the self affect the way they conceptualize success and perceive who a successful person is. Students will understand the role of the media in reproducing hegemonic representations of reality in terms of gender, race, ethnicity, national origin, disability, and so on, and how these representations limit their world view and are detrimental for those who do not abide by the dominant stereotypical images. The exercise also intends to expose students to complex narratives of what success may mean beyond accumulation of wealth, competition, nationality, whiteness, and patriarchal values, and for them to reflect upon intersectionality, by challenging and critiquing dominant portrayals of human achievement.
Courses: Introduction to Media Studies, Introduction to Media and Culture, or any introductory communication course discussing media representation.
Objectives: Students will (1) identify the role of cultural hegemony in the mediated construction of success; (2) understand and critically evaluate how hegemonic media representations of gender, class, race, ethnicity, physical ability, national origin, and so on limit people’s world views about human achievement; and (3) self-reflect on their own representations of success and reframe “success” moving beyond hegemonic representations attached to patriarchy, heteronormativity, whiteness, physical ability, competition, and capitalist accumulation. 相似文献
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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
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Laura Lindenfeld 《传播与批判/文化研究》2013,10(3):303-320
This essay argues that the film Tortilla Soup constructs a mediated culinary touristic experience for mainstream spectators who are invited to vicariously visit a Mexican American family. Analysis of the film's neocolonialist discourse demonstrates how the commercialization and appropriation of food culture mirror hegemonic tendencies to market and consume ethnicity. Tortilla Soup attempts to deconstruct homogenizing notions of Latinidad. Yet it straddles and ultimately collapses these divergent discourses through its treatment of food, sound, gender, and space. Ultimately, Tortilla Soup reaffirms hegemonic ideologies about Latinos/as that privilege whiteness and contain ethnic “otherness.” 相似文献
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J. Fred MacDonald Marlo Lewis Mina Bess Lewis Maxene Fabe Christopher Wicking Tise Vahimagi 《Communication Booknotes Quarterly》2013,44(5):114-115
J. Fred MacDonald's Don't Touch That Dial! Radio Programming in American Life, 1920-1960 (Chicago: Nelson-Hall, 1979---$15.95/8.95) Marlo Lewis and Mina Bess Lewis' Prime Time (Los Angeles: Tarcher/dist. by St. Martin's Press, 1979---$10.00) Maxene Fabe's TV Game Shows (New York: Doubleday/Dolphin Books, 1979---$8.95, paper) Christopher Wicking and Tise Vahimagi's The American Vein: Directors and Directions in Television (New York: Dutton, 1979---$6.95, paper with a hardback also available) Steven H. Scheuer, ed. TV: The Television Annual 1978-79 (New York and London: Collier/Macmillan, 1979---$9.95, paper with a hardback also available) 相似文献
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Michael Wood Adam Garbicz Jacek Klinowski Tino Balio Charles Higham John Douglas Eames 《Communication Booknotes Quarterly》2013,44(4):40-41
Michael Wood's America in the Movies, or "Santa Maria, It Had Slipped My Mind" (New York: Basic Books, 1975---$10.00) Adam Garbicz and Jacek Klinowski's Cinema, The Magic Vehicle: A Guide to its Achievement (Metuchen, N.J.: Scarecrow Press, 1975---$18.50) Tino Balio's United Artists: The Company Built by the Stars (Madison: University of Wisconsin Press, 1975-- $15.00) Charles Higham's Warner Brothers (New Y( Scribner's, 1975---$9.95) John Douglas Eames' The MGM Story: The Complete History of Fifty Roaring Years (New York: Crown, 1975---$25.00) Rochelle Larkin's Hail, Columbia (New Rochelle, N.Y.: Arlington House, 1975---$17.95) Datid E. Scherman (ed.) Life Goes to the Movies (New York: Time-Life Books, 1975-- $19.95) Paul Trent's Those Fabulous Movie Years: The 30s (New York: Crown, 1975---$14.95) Griffith and Mayer's The Movies (New York: Simon and Schuster, 1969) Sidney Skolsky's Don't Get Me Wrong-- I Love Hollywood (New York: Putnam's, 1975---$8.95) Leo Handel's Hollywood Looks at its Audience: A Report of Film Audience Research (originally issued by the University of Illinois Press in 1950) 相似文献
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Kristen Hoerl 《Communication Studies》2013,64(4):355-370
Spike Lee's film Malcolm X (1992) presented Malcolm X's life story using the narrative framework of the American Dream myth central to liberal ideology. Working from Gramsci's notion of common sense in the process of hegemony, I explain how Lee appealed to this mythic structure underlying American popular culture to give a platform to Malcolm X's controversial ideas. By adopting a common sense narrative to tell Malcolm X's life story, this movie functioned as a form of cinematic jujitsu that invited critical consciousness about the contradictions between liberal ideology and the life experiences of racially excluded groups. Other formal devices in Lee's film incorporated Malcolm X's rhetoric within the common sense of mainstream politics and connected Malcolm X to more contemporary racial struggles. This analysis suggests that common sense framings of controversial figures may provide a limited space to challenge institutionalized forms of racism within popular culture. 相似文献
20.
Brenda Cooper 《Critical Studies in Media Communication》2013,30(4):416-435
–This essay examines how the narrative structure of the Fox primetime television hit Ally McBeal opens the text to a feminist reading. Despite critics' charges to the contrary, I argue that producer/screenwriter David E. Kelley's teleplays construct a preferred feminine spectator position that appropriates dominant male gazes in three ways: the feminine setting of the law firm, the refusal of women characters to yield to the male gaze, and the “comic spectacle of maleness.” Ally McBeal's preferred feminine spectatorship stance is articulated through comic strategies in which gender ideals are questioned through mockery, thus opening a safe space for viewers to reject dominant patriarchal meanings and to experience a feminist epistemology. 相似文献