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1.
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
2.
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
3.
Nadine Ehlers 《传播与批判/文化研究》2013,10(4):313-334
This article examines the intersectionality of law and race to argue that law, in its broadest understanding, has played a pivotal role in the performative constitution of racial subjects. This disciplinary regulation, which has operated to “fix” an individual within a racial status under law, has augmented the production of the individual as a raced subject. An analysis of Rhinelander v. Rhinelander, however, illuminates that a defiance of racial performative dictates can render “race” hidden in plain sight. This rendering represents an escape from the regulatory mechanisms of law, posing a counter‐power that threatens to disturb hegemonic whiteness. 相似文献
4.
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
5.
Ann Johnson 《传播与批判/文化研究》2013,10(2):166-183
This essay examines The Man Show as a contemporary example of blatant sexism. A growing body of feminist criticism documents the emergence of subtle forms of sexism in popular culture. Such forms may be characterized as an accommodation or hegemonic negotiation in which dominant discourses must become flexible in the face of pressure from oppressed groups. Yet blatant sexism abounds in contemporary culture. I argue that The Man Show provides viewers with rhetorical resources to imagine their viewing practices as an act of protest against an imagined dominant female authority, and that those resources potentially allow viewers to accept the sexism of the program at face value. 相似文献
6.
Gina Masullo Chen 《Mass Communication and Society》2013,16(4):510-532
This article argues that although the act of mommy blogging may be empowering, the term itself reinforces women's hegemonic normative roles as nurturers, thrusting women who blog about their children into a form of digital domesticity in the blogosphere. Drawing on 29 blogs posts women wrote debating the term mommy blogger and 649 comments posted on these blogs, the author uses Judith Butler's concept of performativity to rhetorically analyze the term, using a techno-feminist lens and cyber-ethnographic approach. The author asserts that the use of the term mommy blogger continues the culturally ingrained performance of motherhood women learned since childhood, and, in so doing, holds women captive in this subjective norm that may not fit them. The use of mommy, versus mother, highlights the nurturing aspect of motherhood and conjures a prototype of the ideal mother, further marginalizing women by focusing on one attribute that does not apply to all women or even all mothers. 相似文献
7.
Using branding theory and a content analysis of the visual components of male and female professional athlete Facebook profile photos, this study suggests that hegemonic gender portrayals persist in visual representations of athletes. Female athletes were more likely to pose for photos and smile while male athletes were more likely to look away from the camera and be in motion. Athletes most often were visually represented in their uniforms, while sexualized visual portrayals of athletes of either gender were not affirmed in this study. 相似文献
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9.
Social media provides athletes an efficient platform on which to build and maintain their online image. Applying the self-representation theory of Goffman (1959), this study explored the gendered differences between the self-portrayals of U.S. and Chinese athletes. Findings suggest that hegemonic gender norms still had a strong hold on Chinese athletes’ self-disclosure, whereas minimal gender differences emerged between male and female U.S. athletes. Results suggested that cultural background had a substantial impact on self-representation for all participants. Although athletes might claim agency when presenting themselves on social media, the practice of self-portrayal should be examined within specific cultural contexts. 相似文献
10.
Meg Tully 《Critical Studies in Media Communication》2018,35(2):194-207
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
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.
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
13.
Emma Mahony 《Curator: The Museum Journal》2016,59(3):219-238
Reacting to the gradual neoliberalization of the European public art institutional landscape, actors within a number of critical art museums and galleries have attempted to reform their institutions from within through a process that is largely commensurate with Chantal Mouffe's radical political strategy of ‘critique as hegemonic engagement‐with’. This article focuses on Manuel J. Borja‐Villel's attempt to implement such a strategy at the Museu D'Art Contemporani, Barcelona (MACBA) in the early 2000s. Through an examination of two key projects – Las Agencias (The Agencies) (2001) and Com Volem ser Governats? (How do we want to be governed) (2003‐2004) – it considers the efficacy of such an approach. In so doing, it calls into question the public art institution's ability to perform a self‐critique when embedded within the hegemony of the neoliberal order and constrained by bureaucratic institutional limitations. It concludes by noting that Mouffe's strategy of engagement does not give sufficient consideration to the dependence critical public art institutions have on local and national political support and its funding channels, making them extremely susceptible to instrumentalization. In response to this constraint, it makes the recommendation that, rather than curbing their experimentation, these critical actors should embrace the potentially temporary status of their institutions, and intentionally push them to and even beyond their bureaucratic limitations. 相似文献
14.
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
15.
The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art. 相似文献
16.
The “hegemonic” tradition argues that the president enjoys unparalleled power to manage news and opinion during war. This approach has dominated political communication literature on war and the media for over a generation. The war with Iraq, however, provides a major challenge to conventional wisdom. We believe that classical propaganda theory provides a useful corrective to the hegemonic perspective and offers a better way to understand the Bush administration's propaganda strategy and its impact on public opinion. Using a combination of content analysis, opinion data, and analysis of the administration's Iraq-related public addresses, we argue that the president neither dominated war news nor managed public opinion in the manner predicted by hegemonic theories. 相似文献
17.
Stephanie Houston Grey 《Critical Studies in Media Communication》2018,35(4):363-375
This essay considers Food Will Win the War, an animated short made early in World War II by Disney Studios for the United States Department of Agriculture. Through a fantastical catalogue of hyperbolic images, the film shows how the mass production of American agriculture becomes the first wave of a new American-style consumerism of plenty that will transform the social order. The analysis blends contemporary theories of affective politics to show Food Will Win the War as a threshold text, revealing the post-war economy at its formation. Using food as a symbolic field, this film ultimately links the endless expansion of consumer desire to national identity and global colonization. 相似文献
18.
David Ropeik 《Journal of Applied Communication Research》2013,41(3):253-256
19.
Wes Jackson 《Public Library Quarterly》2013,32(2):167-173
This article is expanded from a commencement address delivered by author Wes Jackson to graduating seniors at Washington College, Chestertown, Maryland, May 20, 2007. It adds detail to his longstanding argument that the environmental majority is mendaciously optimistic in suggesting that new—and sometimes still uninvented—technology will solve the world's food and energy problems. Jackson lays out statistics on how fast the world is using up its energy sources, noting that biofuels such as agriculture‐based ethanol will provide insufficient energy to power U.S. cars and trucks even if we use all of the food in the world to produce motive power. Jackson's previous article, “Conceptual Revolutions: Who Needs Them? Why?” was published in Public Library Quarterly 24‐3 (2005). The two articles form an intertwined statement on world resource limitations and opportunities. These articles were selected for inclusion in PLQ for the fundamentally different view they offer library professionals on the biofuels‐and‐ecology debate, in the hopes of balancing competing points of view in library collections. 相似文献
20.
Kathleen P. Hunt 《传播与批判/文化研究》2016,13(4):380-399
This analysis refocuses attention to the relationship between neoliberal government practice and co-conditioning rhetorical consequence through examination of Electronic Benefits Transfer (EBT). Operating by a plastic card similar to consumer debit cards, EBT opens new possibilities of consumption for those receiving Food Stamps. Rather than simply signaling a disciplining governmentality, electronic food assistance functions as a technology of neoliberalization, proffering the potentiality of social equity while (re)instantiating class boundaries. I appropriate the finance term securitization to specify the disposal of liberalist logics that transform the poor from economic risk to state asset while also leaving the conditions of poverty and food insecurity unchallenged. 相似文献