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1.
J. Emmett Winn 《Critical Studies in Media Communication》2013,30(4):452-465
–This study looks at Spike Lee's Malcolm X as an important text in understanding Afrocentric perspectives that challenge the ideological stereotypes of mainstream Hollywood film. Malcolm X intervenes between Lee, the filmmaker, and the powerful media industry and is emblematic of the larger discussion of hegemonic and counter-hegemonic views in media culture. This film is not only an interesting case study but a significant part of an ongoing cultural discourse that is as relevant now as when Malcolm X lived. The relevance of this essay lies in its contribution to the discussion of media perspectives with a focus on furthering media literacy. It aids the viewer in understanding the social discourse surrounding a mediated racist ideology and the ongoing cultural work of social equality in the United States. This research finds that in the continuing struggle over media representation, Lee's film is an instrument of media politics, controversy, and commercialization. 相似文献
2.
This essay proposes the notion of the “jazz vernacular” as a tool specific to the Creole culture in New Orleans for understanding racial discourses of disposability both geographically and historically. We argue that the jazz vernacular is a discourse structured by musical repertoire. The jazz vernacular provides a channel for the historical pain of the black diaspora by playing in the background, both literally and figuratively, of communication in and about New Orleans. This essay considers Spike Lee's documentary When The Levees Broke to understand how the jazz vernacular frames hurricane Katrina as well as how it frames Lee's film as an intervention into “neoliberal” racial discourses. We argue that Lee's film utilizes the jazz vernacular as a metadiscourse to reinforce the ways in which residents used jazz to restructure cultural memory around the rhetoric of the dispossessed in New Orleans after Katrina. When the Levees Broke uses testimonials and affective communication to structure the narrative of Katrina through elements of the jazz vernacular like: displacement, embodiment, brashness, and improvisation to connect contemporary Creole New Orleanians to a long history of structural oppression and violence. By harnessing performative elements, Lee's film performs a jazz intervention into neoliberal discourses about freedom, defense, safety, and heroism that contrasts these discourses with the despair and the resistance of black America. Consequently, Lee's use of the jazz vernacular relies on native musical culture to recontextualize what neoliberalism had erased. 相似文献
3.
Davis W. Houck 《Communication Studies》2013,64(3-4):285-298
Many scholars have misunderstood and misinterpreted Malcolm X's pilgrimage to Mecca in the spring of 1964. Instead of treating the conversion within its historical moment, scholars have de‐politicized this crucial event by ignoring the historical, political, and rhetorical dynamics of the situation. In this essay, I argue for a rhetorical reading of Malcolm's Mecca pilgrimage. Malcolm's conversion to orthodox Islam facilitated his attempts to actualize his political mission of internationalizing the battle for civil rights. Converting to orthodox Islam also enabled Malcolm to appropriate the rhetoric of the Koran to legitimate his political mission of indicting the United States on human rights violations at the United Nations. 相似文献
4.
《Communication monographs》2012,79(4):428-447
In this essay I use an updated approach to Richard Hofstadter's paranoid style to analyze the contemporary birther movement. While the paranoid style provides a set of characteristics that describes paranoid narratives, it does not account for why some narratives ring true for certain audiences. Thus, in order to explain how and why the birther narrative resonates with a substantial portion of Americans, I argue that the resonance of the birther narrative can be explained through Kenneth Burke's scapegoating process, which activates the conspiratorial story for the birther audience. I use an analysis of a popular birther film, materials on the birthers' website, and media commentary on the group to illustrate this position. 相似文献
5.
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
6.
《Mass Communication and Society》2013,16(4):419-436
This article is a historical and discursive analysis of the African American press's reception of the motion picture Gone With the Wind (1939). The African American press represents a specific sphere wherein ambivalence and resistance to the cultural hegemony exhibited in this popular film text may be examined. Coverage of the film by 5 newspapers from December 1939 through May 1940 suggests a process in which discourse changed from watchful indifference to ambivalence toward the film. News and commentary suggest the polysemic readings of the text by African American journalists and filmgoers and the emergence of more complex forms of viewer resistance to Hollywood's cultural hegemony. The Academy Award received by Hattie McDaniel for her performance made the sense of resistance to such hegemony more substantive, while also bringing a new sense of purpose to the audiences' readings of the text. The resistance to this cultural hegemony was cut short, however, when reports of a new production of The Birth of a Nation (1915) were carried by the newspapers. A collective effort by the National Association for the Advancement of Colored People, the African American press, and its readers curtailed the remake of The Birth of a Nation, although it would be years before Hollywood included African Americans in meaningful, multidimensional roles. 相似文献
7.
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
8.
Todd Cesaratto 《传播与批判/文化研究》2013,10(4):307-328
“The Good Will Hunting Technique” analyzes and enacts rhetorical paradigms present in popular culture. The main objects of examination are Gus van Sant's film, Good Will Hunting, and Eminem's music video “Mosh.” The author extracts positive aspects of popular culture to feature a rational-affective approach to rhetoric. The notion of mind–body rhetorical collaboration, which stems from Behavioral Doctrine developed during Germany's Weimar era, combines an emphasis on exteriority with traditional notions of rhetoric to establish a method for progressive action in lived reality. 相似文献
9.
《Communication monographs》2012,79(1):5-24
A guiding purpose of most social and political minority movements in a pluralistic society is to achieve legitimacy in the terms of the dominant ideology. In Anglo‐American liberal democracies such legitimation is located in the ideograph <equality>, an ideological commitment which promotes “sameness” and “identity.” An interesting feature of <equality> is that it functions implicitly as a rhetoric of control, requiring those who would achieve legitimacy to sublimate their “difference” from the dominant ideology. As such, it poses serious contradictions for a society that is truly interested in promoting a humanistic and pluralistic egalitarianism. In this essay the authors examine the way in which the culturetypal rhetoric of Martin Luther King, Jr. and the counter‐cultural rhetoric of Malcolm X functioned together to negotiate this characteristic of <equality> as black Americans in the 1960s strove to achieve legitimacy for their struggle for civil rights, and in so doing constructed a revised and emancipatory conception of cultural <equality>. 相似文献
10.
Krista L. Phair 《Communication Studies》2013,64(1):104-117
The battle between secular culture and conservative religion is one that pervades modern society. In the face of this vehement clash, a curious collection of books has emerged that attempt to provide a means of reconciliation between faith and popular culture. The Gospel according to book series by Presbyterian publisher Westminster John Knox (WJK) Press pairs seemingly controversial artifacts of popular culture such as The Simpsons with the gospel message. These books function in a way that is similar to allegory but lacks allegorical form. This essay argues for the existence of a distinctive rhetorical strategy called transformative discursive allegory that functions to create an allegorical relationship between a secular and a sacred text. WJK's The Gospel according to book series is shown as an example of how transformative discursive allegory functions to allow the faithful to participate in popular culture while simultaneously affirming one's ideological beliefs as omnipresent in the world. The findings suggest that allegorical function and form are separate elements and that one can create an allegorical relationship without allegorical form or intent. 相似文献
11.
Tom Hennes 《Curator: The Museum Journal》2012,55(2):129-138
Abstract Ken Waliaula’s essay in this issue, Remembering and Disremembering in Africa, acutely observes the interaction of individual memory with what has been remembered and “disremembered” (willfully erased) by local communities and larger national political structures in Kenya. His reflections on the way society deals with memory offer valuable insight into museum‐making. Exhibitions can accommodate the fuller range of complexity, meaning, and interpretation that is reflective of real history as experienced from the range of perspectives Waliaula describes. To create such exhibitions, museum professionals need to adopt methods of collection and curation that differ from the common practice of “telling the story” in favor of incorporating greater narrative variety that embodies the complex contradictions of events that become history. By doing so, museums may better equip their users to share interpretive authority and experience a greater sense of authenticity within the exhibition. 相似文献
12.
Nathan Walter Sheila T. Murphy Lauren B. Frank Lourdes Baezconde-Garbanati 《Communication Research Reports》2017,34(2):161-170
Limited attention has been given to the medium of story presentation in this process of narrative persuasion. The present study (N = 243) fills this gap by directly comparing narrative involvement across print and audiovisual versions of the same cervical cancer-related story. The mediation analysis revealed that exposure to an audiovisual narrative was associated with higher levels of cognitive and emotional involvement than exposure to the exact same narrative in its printed form. Yet the higher levels of transportation in the audiovisual condition came at a price of enhancing psychological reactance, eliminating the relative advantage of the film narrative. 相似文献
13.
14.
《Journalism Practice》2013,7(3):298-313
This paper explores debate within Puerto Rico's journalistic community regarding the journalistic role of La Comay, a full-sized puppet host of the popular information and entertainment show SuperXclusivo, which faced a boycott in late 2012 and cancelation in early 2013. Calls to boycott and shutter the daily TV show came from the island's LGBT advocates because of comments made by La Comay that they considered homophobic. This analysis of 58 texts from four of Puerto Rico's island-wide news outlets provides an opportunity to examine how a region's dominant cultural archetype—that of the motherly and controversial comadre, after which La Comay is named—appeared in boundary work conducted by local journalists as they determined whether La Comay should have been awarded journalistic status. This paper is not meant to be yet another examination of satirical journalism as much as it is a chance to explore the appearance of a region's culture in the construction or maintenance of its journalistic community. 相似文献
15.
《Journal of Radio & Audio Media》2013,20(1):76-89
The popular comedic serial Vic and Sade can be viewed in relation to the mass culture critique, a series of criticisms advanced by twentieth century public intellectuals for the benefit of other intellectuals against the alleged negative impacts of mass entertainment, particularly radio, and other aspects of mass culture. A close examination of Vic and Sade's depiction of mass entertainment, specifically film, periodicals, and popular fiction, demonstrates that the program advanced its own critique of mass culture, one coming from the perspective of the masses and directed toward a mass audience. 相似文献
16.
Belinda Flores Espiritu 《亚洲交流杂志》2013,23(4):355-372
This study examines the ‘theater of struggle’ in young Filipino women's reception of Korean television dramas in view of the American cultural imperialism that is deeply entrenched in the Philippine society. Mainly anchored on Gramsci's concept of hegemony and Stuart Hall's encoding-decoding theory, the researcher conducted a reception analysis through a textual analysis of selected Korean television comedy-dramas and focus group discussions with young Filipino women in different colleges. The young Filipino women expressed cultural affinity with the culture, storylines, values, and environment in Korean and other Asian television dramas that have invaded the Philippines in the twenty-first century. ‘Negotiation, resistance, and struggle’, in Hall's sense, against both the liberalism in American dramas and the pre-modern themes in local dramas were manifested in the young women's discourses. Consequently, American cultural imperialism in the Philippines was undermined, challenged, and to some extent subverted. The study also looked into the young women's dominant, negotiated, and oppositional readings of the dominant capitalist patriarchal values and ideologies that were embedded in selected Korean dramas. While there were young female participants who subscribed to global capitalist values showing their cooptation within Western cultural hegemonic domains, the young women largely articulated negotiated readings of capitalist values and oppositional readings with regard to the dominant ideology of capitalist patriarchy. In reading the selected Korean dramas reflexively, the young women identified social pathologies of poverty, class inequality, and capitalist patriarchal values and constructed emancipatory discourses with regard to these. 相似文献
17.
《资料收集管理》2013,38(1-2):139-154
Librarians have been accused by both the political left and right of failing to acquire materials representing controversial views on social and political issues. Two bibliographies of monographs supporting conservative and liberal opinions are used to survey Ohio OCLC member libraries, searching for bias towards either side of the political spectrum. Conservative books appear more often in Ohio academic, public, and special libraries than do liberal titles. However, as books from either bibliography are in no more than 15% of all Ohio libraries, it appears the state's libraries have done a poor job in collecting controversial political materials. Further studies are needed to determine the extent, if any, of political bias among American libraries on collection development. 相似文献
18.
Robert Alan Brookey Robert Westerfelhaus 《Critical Studies in Media Communication》2013,30(2):141-156
–Recently, the mainstream media have begun to include positive portrayals of gays and lesbians. This essay suggests that these positive portrayals demand critical scrutiny to determine how they redefine mainstream culture and how they serve to challenge and/or reinforce heterosexual bias. In an analysis of To Wong Foo, Thanks for Everything! Julie Newmar, we examine how a narrative film negotiates the practice of drag and represents gay male “drag queens” through a progressive refiguring of the monomythic themes which inform the popular genre of Western film. 相似文献
19.
ABSTRACTWorking collaboratively, a scholarly resources librarian and a subject liaison librarian at a small, public liberal arts college have created a GIS story mapping workshop for fellow information professionals. Using GIS, the librarians are bridging the gap between humanities and sciences in a liberal arts environment. The librarians' experience of being introduced to GIS and creating training for others enabled them to support their library's data services and digital scholarship initiatives. By helping connect the humanities with science and technology using story maps, librarians can create a neutral environment for learners to conduct interdisciplinary research and develop spatial literacy. 相似文献
20.
David Mcneil 《Media History》2013,19(1):71-86
The goal of this article is to demonstrate and analyse how two public broadcasters with cultural and technical mandates to foster identity formation, the BBC in Britain and the Canadian Radio Broadcasting Commission (CRBC) in Canada, came to terms with the fact that the British and Canadian identities were different, and growing more so, in the 1930s. The focus is on how two BBC officials, Malcolm Frost and Felix Greene, assessed the public broadcasting experiment in Canada and gradually came to understand that the CRBC, while a Dominion broadcaster and potential distributor of the Empire Service, was also a North American broadcaster striving to gain legitimacy and credibility with Canadian listeners accustomed to the popular commercial programming of the large American networks. It concludes with a discussion of Greene's role in the creation of the Canadian Broadcasting Corporation (CBC) and the appointment of Canadian-born BBC official Gladstone Murray as its first general manager. 相似文献