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1.
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   

2.
This essay argues that the semi-biographical film 8 Mile represents Eminem as being both racially distinctive and as possessing universal commercial appeal. 8 Mile accomplishes this paradoxical construction by portraying “Rabbit” as “white trash,” a discursively “dark” (white) object, and as an American mythological white subject. The film makes whiteness hyper-visible by subjecting it to raced and gendered struggles. Through real and symbolic violence, Rabbit battles “dark” villains and grapples with “dark” women, initiating a rite of passage. The film grounds Eminem's hip hop authenticity in Rabbit's discursive darkness, but attaches to this image the marketable allure of mythic whiteness. I conclude by contemplating how the film's conservatism reifies “blackness.”  相似文献   

3.
–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   

4.
This analysis used Peirce's triadic approach to interpret 58 public depictions of women during the two world wars. The images, appearing in government posters or as ads and illustrations in U.S. magazines and newspapers, endeavored to convey the seriousness of the war effort and mobilize audiences to support it. Aligned in five thematic clusters (competence, domesticity, heterosexual attraction, beauty maintenance, and romantic longing), many invited polysemy through discrepant visual and verbal cues aimed at different audiences. Women as viewers and as objects of representation were addressed in the context of both citizenship and consumption. The analysis explicates ideological points about wartime gender relations and points to the objectification of women's bodies as implied sexual rewards for product purchase in WWII.  相似文献   

5.
This essay explores the cultural politics of television talk-show host Oprah Winfrey's Book Club. Because women constitute both the primary Oprah television audience and the largest United States book buying public, it focuses specifically on women's involvement in the club and their modes of engagement with its selections. The Book Club's astonishing success was attributable in part to the carefully considered communication strategies through which participants, Winfrey, and Oprah producers collectively articulated the value of books and reading specifically for women. Their de-emphasizing of purely literary considerations, I contend, enabled women to strategize how to use Book Club selections simultaneously to distance themselves from and to engage more intensively with the demands of living in a patriarchal and otherwise socioeconomically stratified society – a relationship I call a “dialectic with the everyday.” This essay thus traces the communicative processes/practices through which those involved in Oprah's Book Club articulated a highly sophisticated economy of cultural value around books and reading and the implications of that economy to a possible feminist cultural politics.  相似文献   

6.
–This essay focuses attention on some of the polysemic and polyvalent dimensions of Spielberg's Saving Private Ryan. The author argues that this film needs to be viewed as an intertextual fragment, where audiences, rhetors, and critics co-produce their interpretations of the rhetorical meaning of D-Day and the “Good War.” The essay advances the argument that critical memory studies help us understand how various representations and absences in the film allow for a number of different nostalgic and oppositional readings of the film. Because of the ambiguous nature of this cinematic representation, both supporters and detractors could claim that this was a realistic film that supported their own views on warfare.  相似文献   

7.
Abstract

The three preceding articles identify the existence of a body of archival recordsof higher education institutions that can support historical investigation into the varied aspects of student life for women. Following a summary of those presentations, the author poses a series of historical questions relating to women's collegiate institutions and student life that scholars and students of women's higher education history might ask to gain a broader view of women's higher learning and “build meaningful contexts in which the evolution of women's higher learning can truly be appreciated.” An examination of the archival records of private, parochial, and public institutions of higher education for women may assist with answering specific and nagging questions and help arrive at a “fuller, more inclusive history of women's higher education.”  相似文献   

8.
Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen before exploring what opportunities and problems it affords viewers. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present.  相似文献   

9.
This essay will provide further insight into how Black audiences interpret a popular culture text by focusing upon how a group of young black men construct Black masculinity as depicted in the film Barbershop. Interestingly, a rhetorical community of young Black men discussed the representations of the characters in the film from a perspective of Black individualism rather than reaffirming identity through a collective orientation toward the culture. This reading contrasts with much of the “ghettocentric” film literature by highlighting how a Black audience's interpretation of a text can focus on individualism rather than on cultural representations and stereotypes.  相似文献   

10.
This essay investigates key moments in the history of personal digital assistant (PDA) marketing to women. Analyzing promotional texts for three PDAs that received considerable press coverage from 1999 to 2001, this essay explores the cultural significance of the convergence of anxieties about women's place in the gendered division of labor with the computer industry's changing marketing imperatives. Drawing on an array of promotional texts, including news articles, press releases, promotional Web sites, and ads appearing in newspapers and magazines, this paper tells the story of how the computer industry aimed to sell smaller, faster computing devices to women while promising to mediate and thus reproduce women's overwork as paid and familial laborers. After experimenting with the PDA as a sexy fashionable gadget for working women, marketers approached women as mothers with “Audrey,” an Internet appliance designed for the kitchen.  相似文献   

11.
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12.
Currently, scholars grapple with media that depict Third World women as either victims of unchanging contexts or agents of liberation. To explore how a widely distributed and popular documentary film can destabilize a First World gaze, this essay examines Iron Ladies of Liberia (ILL), which traced Ellen Johnson Sirleaf's first year as president of Liberia. ILL foregrounded women's rhetorical and political agencies to alter a postwar context, while it also situated their agencies within an enabling and constraining constellation of power relationships. Through its unique relationships between filmmaker and subject, ILL suggested a transnational feminist perspective on women in media.  相似文献   

13.
This paper contends with how postbroadcast television branding subsumes viewers’ affective interactivities with place to produce brand value. Focusing on the HBO series Treme, I argue that Treme engendered HBO's postbroadcast brand mutation by producing “passionate engagement,” where viewers were invited to interact with the show by touring New Orleans, thus adding place to online interactivity and multiscreen engagement as a means of constructing an “authentic” brand identity. The desire for viewers to connect to New Orleans’ culture is thus transformed into a vehicle for profit making for HBO and an assurance to shareholders that the brand still holds value.  相似文献   

14.
In the summer of 2013, the United Nations and NBC began a season-long collaborative campaign involving the primetime television series Revolution (2012–2014), a show about the global loss of electricity, to promote the former’s energy resource campaigns. The two entities collaboratively produced various texts and events encouraging audiences to learn more about United Nations energy initiatives and how people throughout the world lack consistent access to electricity. This essay offers a close, rhetorical reading of the collaboration’s paratexts, examining stated responses from actors, creators, interviewers, and panel participants within this content. In particular, I argue that contact between the paratexts and the “formative” text (that of the show’s narrative) can encourage viewers to think about electricity from the perspective of their own material practices, dependencies, and fears over losing the technological world. I examine how these invested viewers interpreted the United Nations’ efforts through such commitments. Naming a fictive world, and its feared loss, as metonymic of energy politics illustrates how meaning, emotion, and texts circulate, while also implicating the use of celebrity platforms for sociopolitical issues such as energy access.  相似文献   

15.
This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119–139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers.  相似文献   

16.
This essay explores three films from 2007, Knocked Up, Juno, and Waitress, which foreground young women's unplanned pregnancies. These movies depoliticize women's reproduction and motherhood through narratives that rearticulate the meaning of choice. Bypassing the subject of abortion, the women's decisions revolve around their choice of heterosexual partners and investment in romantic relationships. Although they question the viability of the nuclear family for single pregnant women, these films represent new iterations of post-feminism that ultimately restore conservative ideas that valorize pregnancy and motherhood as women's imperatives. We conclude by addressing how these movies present a distorted and short-sighted depiction of the politics of reproductive agency and the challenges that single mothers face.  相似文献   

17.
Through the theoretical framework of Jacques Lacan's “mirror stage,” this study employs statistical analysis to code the frequency with which Spielberg utilizes the “gaze” in his work to emotionally influence viewers by providing them with desirable images of the human face. This study examines if these psychologically desirable images are used with more frequency in Spielberg's successful films, thus providing quantitative support for the assertion that Spielberg “manipulates” his audience through his signature style.  相似文献   

18.
Mary Irwin 《Media History》2013,19(2):162-177
Wednesday Magazine (1958–1963) was an innovative BBC television afternoon arts and culture strand produced by the specialist BBC women's programme unit, which had been built up and nurtured by the first dedicated head of women's programmes Doreen Stephens, who was appointed in 1953. Stephens was responsible for the development of a diverse and extensive range of women's programming; highly ambitious in the offering that it presented to its female viewers. This article will examine the series Wednesday Magazine exploring the wealth of arts and culture items broadcast, whilst considering the programme's significance in critical histories of both women's programming and arts television. The article will also make an intervention into historical debates around what constituted women's television in Britain.  相似文献   

19.
This essay addresses three key issues for critical-cultural studies: posthumanism, network infrastructures, and sustainability. The examples of Google Glass, Google's “Data Centers” online photo gallery, and James Cameron's film Avatar are used to briefly elaborate on the importance of these issues for critical-cultural studies, and to argue for the integration of materialist and representational forms of analysis.  相似文献   

20.
Using MTV's popular long-running program The Real World as a case study, this essay examines the interrelationship of the construction and consumption of bodies in an increasingly surveillance-based, commercial, hybrid media culture. This article is part of a larger project that employed a multi-method approach grounded in feminism combining textual data from The Real World with interviews with producers and female fans of The Real World. The author investigates how Real World viewers make sense of the series' claims to the real, using the body as the site of cultural production. Two key frames of bodies on The Real World are identified: the troubled body and the heteronormative body. The analysis is situated among studies of media realism to interrogate the context in which real women today are recreated as the “fractured female” in popular culture. The author argues that scholars should continue in a move toward interdisciplinary approaches that link the cultural with the capital and offers the body as a major site of cultural production and reception.  相似文献   

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