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1.
Theodore A. Avtgis Daniel V. West Traci L. Anderson 《Communication Research Reports》2013,30(3):280-287
Knapp's (1978) ten stage model of relationships has been widely cited and endorsed, nonetheless a solid empirical foundation for this model is lacking. This study was conducted to provide the preliminary information necessary to identify, empirically, the stages of “coming together”; and “coming apart”;. Focus groups were conducted to identify behavioral, cognitive, and affective dimensions indicative of the ten stages proposed by the Knapp model. Findings indicate that people generally report different thoughts, feelings, and behaviors in each stage. The findings are discussed in terms of the further development of Knapp's model and creation of a corresponding measurement scale. Directions for future research involving the development of such a scale are also discussed. 相似文献
2.
David E. Reese 《Journal of Radio & Audio Media》2013,20(1):84-86
NPR analyst Juan Williams appeared on The O'Reilly Factor and said that he gets “worried” and “nervous” when he sees people in Muslim dress on airplanes. Two days later NPR fired Williams and the day after that Williams issued a serious accusation against NPR: “I was fired for telling the truth.” Criticism of NPR mounted—arising particularly from conservative commentators—and CEO Vivian Schiller disseminated a statement defending her organization. This essay applies the theory of image repair discourse to NPR's CEO Vivian Schiller's apology for firing Williams. Two accusations were in play and they prompted two distinct defenses: Her reaction to accusations that NPR had not followed appropriate procedures for termination Williams employed the strategies of mortification and corrective action and her defense of the firing itself used transcendence, bolstering, and attack accuser. This essay evaluates this defense as a poor example of image repair. 相似文献
3.
Jeffrey A. Bennett 《Critical Studies in Media Communication》2013,30(5):408-425
The reality dating programs Boy Meets Boy and Playing It Straight purported to illustrate the elusiveness of performing sexual orientation in a culture that increasingly understands sexuality as fluid. By highlighting stereotypes typically associated with both gay and straight men, the shows exposed the difficulties of determining sexual orientation with “gaydar”. Both gay and straight participants were represented as equally incapacitated to identify sexual orientation. In doing so, the programs sought to advance liberal democratic conceptions of tolerance and equality. Employing Foucault's conception of the “glance,” I explore the problems inherent in relocating “gaydar” to the small screen. 相似文献
4.
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
5.
Katherine Sender 《Critical Studies in Media Communication》2013,30(2):131-151
This paper moves beyond a conventional critique of gay stereotyping on Bravo's popular makeover show Queer Eye for the Straight Guy to consider how the show puts gay cultural expertise to work to reform a heterosexual masculinity that is compatible with the neoliberal moment. At issue are the newly public acknowledgement of gay taste and consumer expertise; the “crisis of masculinity” that requires that heterosexual men must now attend to their relationships, image, and domestic habitus; and the remaking of the straight guy as not only an improved romantic partner—the metrosexual—but a more flexible, employable worker. The author concludes by considering how camp deconstructs some of Queer Eye's most heteronormative aims, even while leaving its class and consumption rationales intact. 相似文献
6.
D. Travers Scott 《Critical Studies in Media Communication》2016,33(5):424-437
ABSTRACTThis essay addresses Stuart Hall and discourse theory, focusing on his essay “Signification, representation, ideology.” Reflecting upon recent events involving representation and identity—US legalization of gay marriage, murders at a gay nightclub, removal of the “Rebel Flag” from the South Carolina state capitol, Donald Trump’s presidential campaign—I attempt to destabilize the counterproductive dualism of material/discourse in Hall’s critique of poststructural discourse theory. Finding amenability between Hall and Foucaultian discourse theory, I describe Hall’s utility for discourse scholars, such as his perspectives on ideological practices and generation of new discourses as an interventionist act. 相似文献
7.
Christina S. Beck 《Communication Studies》2013,64(2):152-171
In this article, I advance an explanation to account for the exceptionally vested nature of soap opera viewers in “their stories.” After reviewing relevant literature on soap operas and fan contemporary media, I highlight the complex, co-constructed narrative intersections that contribute to powerful and multilayered experiences related to daytime dramas. In particular, I contend that soap operas matter to viewers because the multigenerational nature of audiences and mediated texts foster interconnections between viewer and textual narratives. Second, I argue that soap operas resonate so deeply with viewers due to increasingly blurred boundaries between ever-emergent personal, public, and mediated narratives. As such, the crossing of these narrative paths over time necessarily results in the very real and powerful interrelationships between the show, viewers, and actors in each other's emergent life narratives. 相似文献
8.
Craig R. Scott 《Journal of Applied Communication Research》2013,41(3):242-257
This essay examines the rather complex role of anonymity in communication research as revealed in the narratives submitted to this special issue. First, narratives were examined quantitatively to assess the prevalence of issues related to anonymity, with terms such as “anonymous” and “confidential” emerging most often. Next, a thematic analysis of the narratives suggests five tensions discussed in some detail: anonymity or (not and) confidentiality, over-promising and under-delivering anonymity, to sign and record … or not, named vs. anonymous vs. pseudonymous, and whether institutional review boards (IRBs) should be anonymous. The essay concludes with several applied recommendations for IRBs, researchers, and participants as they confront these tensions linked to the role of anonymity in human subjects research. 相似文献
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Emmanuel Levinas writes of how the “call of conscience”; is a “primordial discourse”; that “interrupts”; the routines and language‐games that help organize and give meaning to a person's everyday existence. Levinas thus provides a way of thinking about the relationship between the call of conscience and rhetoric that advances what rhetorical theorists have so far claimed about this relationship. This essay develops the position that the call of conscience is a rhetorical interruption in its purest form. A case study is offered to illustrate how such an interruption manifests itself in the debate over the justifiability and social acceptability of physician‐assisted suicide. The specific rhetorical transaction in question occurred in cyberspace and lasted five months; it began when members of a disability civil rights group known as “Not Dead Yet!”; conducted what their opponents described as an “invasion”; of an electronic mailing list operated by the Euthanasia Research and Guidance Organization. 相似文献
11.
This article explores how documentary film practice and visual storytelling can be used to help portray Qatari women's narratives, even though many are prohibited by cultural norms from appearing in visual media. We investigate which communication and media practices can provide a work-around, ensuring that women's stories and testimonies are documented. We also explore whether Qatar's social and cultural restrictions result in a form of “symbolic annihilation” for Qatari women, as articulated by Gaye Tuchman, and how this impacts Qatari women's position and visibility in local society. 相似文献
12.
Bonnie Dow 《Critical Studies in Media Communication》2013,30(2):123-140
–The discourses constructing the coming-out of Ellen DeGeneres/Ellen Morgan, star of and lead character in the ABC television sitcom Ellen, were permeated with implications of authenticity and liberation, illustrating the continuing power of the confessional ritual described by Michele Foucault in The History of Sexuality. In contrast to the popular interpretation of the coming-out as an escape from repression, media treatment of the Ellen phenomenon was productive, in Foucault's sense, constructing a regulatory discourse that constrained the implications of gay visibility on commercial television by channeling it through a narrative of psychological autonomy, through television norms for representing homosexuality, and through an overarching strategy of personalization. I conclude with a discussion of the problems of “poster-child politics” as exemplified by the Ellen discourse. 相似文献
13.
Abstract Museum visitors arrive at an exhibit or tour with their own individual experiences, memories and knowledge related to the subject — in a phrase, their “entrance narrative.” We tested what happens to participants in guided tours when the guide first accesses — by two different methods — the entrance narratives of their visitors, and then makes specific connections from these entrance narratives to the content of the tour. The subject of the tour was a guided tree walk at Hebrew University's open‐campus museum. Behavioral measures and questionnaires both indicated that accessing and incorporating participants' entrance narratives profoundly enhanced their experience. The enhancement was somewhat greater among visitors from the general public than among groups of university students. We suggest that guides could use the simple methods described here, in a wide variety of tour types, to enhance visitor experiences. 相似文献
14.
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
15.
This study analyzes visual production techniques in NBC's 2004 Olympic track and field coverage using Zettl's applied media aesthetics approach. Track and field coverage is worthy of analysis in relation to gender because of the sport's perception as “gender-neutral” in comparison to other sports such as gymnastics (feminine), or U.S. football (masculine). Men's coverage was presented as more visually “exciting” than women's—it used more shot types, camera angles, and motion special effects per minute. These differences may contribute to perceptions that women's sports are inferior or “naturally” less interesting than men's, reinforcing men as the symbolic authority in sport. 相似文献
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Peter Ehrenhaus 《Critical Studies in Media Communication》2013,30(3):321-337
–Steven Spielberg's film Saving Private Ryan has been criticized for its failure to frame narrative action in terms of national, moral purpose. This criticism can be understood in terms of the constraints that the “Vietnam syndrome” places upon contemporary cinematic narratives of war; Vietnam memory subverts earnest declaration of high national principle. This essay examines how Saving Private Ryan “reillusions” American national identity in the wake of Vietnam by giving presence to an even more distant past. Supported by close textual analysis of key scenes centering upon the sole Jewish character in the film, this reading argues that the specific moral justification for waging war and accepting its horrors and sacrifices is found in a moral crusade against the Nazi program of Holocaust. By suturing the Holocaust into the film as its moral foundation, the film participates in the “Americanization” of Holocaust memory, circumvents Vietnam as a source of traumatic memory, manufactures a redemptive national identity, and constructs an ethically usable past in the present. 相似文献
18.
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
19.
Gretchen Soderlund 《Critical Studies in Media Communication》2013,30(4):438-460
Communication scholars have analyzed how such pivotal historical and political events as war, assassination, and the rise and fall of nations and political regimes have functioned to shape and shore up the legitimacy of particular news institutions. This paper explores the role played by an early twentieth-century sex-related social and moral panic over “white slavery” in transforming news practices. Beginning in 1907, stories proliferated in the U.S. mass media of White women kidnapped and sold into prostitution organized bands of immigrants, often alleged to be conspiring with top city officials. diachronic textual analysis of New York Times coverage of a 1910 white slavery investigation finds that reporters initially drew from a stock of sentimental narratives describe the investigation's findings. However, as the investigation grew increasingly problematic, the Times developed a detached orientation toward its object, similar to that demanded of professional journalists today. I examine how the Times engaged paradigm repair and significant historical revision to account for and defend its earlier articles on this controversial phenomenon. 相似文献
20.
《Communication monographs》2012,79(2):252-270
This study surveyed German heterosexual men's interest and engagement in a variety of dominant behaviors observed in recent analyses of pornography. Interest in watching popular pornographic movies or more frequent consumption of pornography was associated with men's desire to engage in or having already engaged in behaviors such as hair pulling, spanking a partner hard enough to leave a mark, facial ejaculation, confinement, double-penetration (i.e. penetrating a partner's anus or vagina simultaneously with another man), ass-to-mouth (i.e. anally penetrating a partner and then inserting the penis directly into her mouth), penile gagging, facial slapping, choking, and name-calling (e.g. “slut” or “whore”). Consistent with past experimental research on the effect of alcohol and pornography exposure on men's likelihood of sexual coercion, men who had engaged in the most dominant behaviors were those who frequently consumed pornography and regularly consumed alcohol before or during sex. 相似文献