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1.
Charles J. G. Griffin 《Communication Studies》2013,64(2):196-210
Eyes on the Prize: America's Civil Rights Years ranks as one of the most successful public television documentaries ever produced. Although it originally aired in 1987, the series has since been shown widely in school and college classrooms, where it arguably has influenced many students’ understanding of the civil rights struggle and, more fundamentally, of the nature and form of “social movement” itself This essay draws upon Kenneth Burke's concept of “significant form” to examine how the documentary's design works to shape public memory of the civil rights struggle as a social movement. In addition to yielding insight into the rhetorical structure of a landmark television documentary, the analysis of form in Eyes on the Prize illumines how public consciousness of “social movement” can be created and perpetuated through narrative form. 相似文献
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Kevin Clair 《Cataloging & classification quarterly》2013,51(4):428-430
This article responds to Jonathan Tuttle's article “The Aphasia of Modern Subject Access” in which Roman Jakobson's semiology of “shared codes” consisting of preexisting signs is offered as the explanation for two redundant linguistic tools associated with cataloging: LCSH and LCC. The article criticizes Tuttle's terminology, his semiology, and his argument that selection and combination are both necessary for the operation of language but each are associated with only one of these tools. “The Aphasia of Modern Subject Access” by Jonathan Tuttle appears in Cataloging &; Classification Quarterly, Vol. 50, Issue 4, 2012, pp. 263—275. doi: 10.1080/01639374.2011.641199. Jonathan Tuttle's “Jakobsonian Library Science? A Response to David Bade” appears in Cataloging &; Classification Quarterly, Vol. 51, Issue 4, 2013, pp. 439—440. doi: 10.1080/01639374.2013.763321. 相似文献
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Joseph Fortunato 《Visual Communication Quarterly》2014,21(1):40-53
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
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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
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Eric King Watts 《Critical Studies in Media Communication》2013,30(3):187-206
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
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This study investigates English-speaking media’s legitimation of smartphone uses by Syrian refugees to explore how “otherness” is negotiated through technologies. Qualitatively examining the media coverage of the Syrian refugees’ use of smartphones between early 2015 and early 2017, we identified rhetorical devices and narrative strategies. The findings indicated a gradual shift in mediated legitimation strategies. In this process, two major themes emerged: (1) strategies to legitimate uses of technology and (2) demystifying refugees. The first theme identified that media articles focused on refugees’ instrumental uses of smartphones over the emotional uses as a legitimation strategy, utilizing metaphors and referencing third parties. The second theme showed media coverage further debunked conflation over poverty and precarity while negotiating otherness. Over time, the media coverage started to fall into the “humanitarian imaginary” of refugees by keeping them at the margins as people who need aid, largely limiting their legitimated mobile phone use to pragmatic uses. The findings contribute to understanding how media coverage can shape the way people make sense of the refugee population at a moment in time of technological appropriation amid ongoing political crises. 相似文献
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Frank Kahn 《广播与电子媒介杂志》2013,57(3):277-279
It is perhaps inevitable, but none the less disturbing to discover errors, in standard reference works. The source of the error may be well hidden, but it is the responsibility of each researcher to check “accepted” findings, whenever opportunity presents itself. This is as true with respect to bibliographic citations as to research data or analysis. This “research coup” by Frank Kahn is one of several comments on Lawrence Lichty's “Who's Who on Firsts: A Search for Challengers” published in the Winter, 1965–66 issue of the Journal. Many corrections or additions were published in the Spring, 1966, issue, and readers are urged to send in other “challenges” as soon as possible. Mr. Kahn, Lecturer in radio and television at Queens College, has contributed to the Journal of Broadcasting in the past. 相似文献
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Douglas Bruce 《Critical Studies in Media Communication》2013,30(2):229-245
–Recent studies have suggested the need to broaden our approaches to violence in children's programming. This paper uses the violence of “The Road Runner” cartoon series as a starting point for a mythico-rhetorical analysis of the message system contained in the cartoon. It explores how the animated short re-enacts the myth of Sisyphus in the context of the post-World War II technological boom in the United States. Technology is the source of most of the violence in the cartoon, and the violence is created by failures of technology. The use of a “children's” medium to critique our reliance on technology offers substantial freedom to the animator, and, in turn, to the viewer and the critic. Examination of “The Road Runner” yields insights into the meanings of cartoon violence, into how media reproduce mythic structures, and into the potentially rich message systems of children's media. 相似文献
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Charles M. Woodliff 《广播与电子媒介杂志》2013,57(1):71-72
In the introduction to Charles Woodliff's “Catch Me if You Can” in the Fall, 1965 issue of the Journal it was, prophesied that it would be not “the last that will be published on the question of the proper curriculum for training professional broadcasters.” In this issue, on the preceding pages, is an article by Professor John Pennybacker answering Professor Woodliff's article disagreeing with the one that started it all, Pennybacker's “Working with Universities.” The following comment by Woodliff is intended only as a brief comment upon Pennybacker's “Leadership and the Educator: The Middle Way” and does not, of course, attempt to make full reply in this brief form. Professor Woodliff (Assistant Professor in the Department of Radio‐Television‐Film at the University of Denver) hopes that the dialogue between him and Dr. Pennybacker represents their respective points of view fairly—and that other positions will be heard from in the future. The airing of these points of view is not just another rehash of the old “liberal arts vs. professionalism” debate. Recent surveys have shown that broadcasting education has not yet made its mark on the industry—if it is to do so in the future, teachers of broadcasting must constantly reassess their goals and the means to achieve these goals. 相似文献
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Karen C. Pitcher 《Critical Studies in Media Communication》2013,30(3):200-218
This paper addresses the ambivalence produced by Girls Gone Wild (GGW) as both text and social practice by interrogating the ways in which it functions hegemonically by staging an effect of agency. I draw on Bakhtin's notion of the carnivalesque as a means to examine how contradictory spatio-temporal contexts of GGW function as spaces that offer the opportunity to momentarily transgress—yet simultaneously reify—white, bourgeois norms of femininity. The videos reinforce a neoliberalist mentality of personal responsibility through the inclusion of the consent—and dissent—processes on camera. After analyzing how postfeminist discourses emphasizing “individual choice” justify GGW as a mode of female empowerment, I turn to a complementary textual analysis of GGW's role-reversal counterpart, Guys Gone Wild (2004), in an effort to show the ways in which this “mirror image” text ultimately reinforces the structure of exploitation in the original. 相似文献
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《Journal of Radio & Audio Media》2013,20(1):30-49
Various radio and pulp incarnations of The Shadow have played a pivotal role in shaping American superhero mythology and cultural unconscious. This essay explores The Shadow's origins within the 1930s, and then utilizes Fantasy Theme Analysis to uncover mythic tensions and conflicts within The Shadow's transition from noir-like dystopian antihero into the more romantic utopian superhero of Orson Welles' 1937 radio program. We conclude by contemplating rhetorical implications for The Shadow's “symbolic divergence,” a fantasy evolving into contradictory counter-fantasies and rhetorical visions in radio and pulps, as a provocative illustration of theoretical debates regarding the psychodynamic functions of rhetorical fantasy. 相似文献
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Gerald S. Greenberg 《Communication Booknotes Quarterly》2013,44(2):78-82
The following essay updates my TABLOID JOURNALISM: AN ANNOTATED BIBLIOGRAPHY OF ENGLISH‐LANGUAGE SOURCES (Westport, CT: Greenwood “Bibliographies and Indexes in Mass Media and Communications, Number 10,”; 1996—$65.00, ISBN 0–313–29544–1, 187 pp.) A. U.S. print journalism IT'S ALIVE! HOW AMERICA'S OLDEST PAPER CHEATED DEATH AND WHY IT MATTERS by Steven Cuozzo (New York: Times Books, 1996—$25.00, ISBN 0–8129–2286–7, 342 pp.) “Reversing the Romance: Class and Gender in the Supermarket Tabloids,” by Theron Britt (Prospect, 21: 435–451 [1996]) “Virgins, Vamps and the Tabloid Mentality,” by Linda Fairstein (Media Studies Journal, 12: 92–99 [Winter 1998]) SCOOPED! MEDIA MISS REAL STORY ON CRIME WHILE CHASING SEX, SLEAZE, AND CELEBRITIES by David J. Krajicek (New York: Columbia University Press, 1998—$24.95, ISBN 0–2311–0292–5, 230 pp., bibliographical references) B. U.S. television “The World Outside: Local TV News Treatment of Imported News,” by Raymond L. Carroll and C. A. Tuggle (Journalism and Mass Communication Quarterly 74: 123–133 [1997]) “Tabloid TV, Courtesy of the Education Department,” by Steven Drummond (Teacher Magazine 9: 14–15 [April 1998]) THE JOURNALISM OF OUTRAGEOUSNESS: TABLOID TELEVISION NEWS VS. INVESTIGATIVE NEWS by Matthew C. Ehrlich (Journalism and Mass Communication Monographs, No.155 [1996]) “Presumed Innocent? A Comparative Analysis of Network News, ‘Newsmagazines’ and Tabloid TV's Pretrial Coverage of the O. J. Simpson Criminal Case,” by Steven A. Esposito (Communications and the Law, 18: 49–72 [December 1996]) “Tabloid and Traditional Television News Magazine Crime Stories: Crime Lessons and Reaffirmation of Social Class Distinctions,” by Maria Elizabeth Grabe (Journalism and Mass Communication Quarterly 73: 926–946 [1996]) TABLOID TELEVISION: POPULAR JOURNALISM AND THE “OTHER NEWS” by John Langer (London: Routledge “Communication and Society,”; 1998—$24.99, ISBN 0–4150–6636–0, 192 pp., appendix, bibliographical references) “Human Nature and Crime Control: Improving the Feasibility of Nurturant Strategies,”; by Bryan Vila (Politics and the Life Sciences, 16: 3–21 [1997]) C. Legal implications ‘Get That Camera Out of My Face!”: An Examination of the Viability of Suing ‘Tabloid Television’ for Invasion of Privacy,” by Eduardo W. Gonzalez (University of Miami Law Review 51: 935–953 [1997]) “Punishing the Press: Using Contempt of Court to Secure the Right to a Fair Trial,” by Stephen J. Krause (Boston University Law Review 76: 537–574 [1996]) “The Confluence of Sensationalism and News: Media Access to Criminal Investigations and the Public's Right to Know,” by Jimmy R. Moye (CommLaw Conspectus, 6: 89–99 [1998]) D. International perspectives “Public Discourse/Private Fascination: Hybridization in ‘True‐Life‐Story’ Genres,” by Ib Bondebjerg (Media Culture &; Society 18: 27–45 [1996]) “Anthropology in the Body Shop: Lords of the Garden, Cannibalism, and the Consuming Desires of Televisual Anthropology,” by Rosalind C. Morris (American Anthropologist, 98: 137–146 [1996]) “The Media's Impact on International Affairs, Then and Now,” by Johanna Neuman (SAIS Review, 16: 109–123 [Winter/Spring 1996]) “Core of the Problem: Newspaper's Fate Will Gauge More Than Press Freedom,”; by Andrew Sherry (Far Eastern Economic Review, 160: 61–63 [3 July 1997]) 相似文献
14.
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
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This article explores the “Great Speech” Nutuk, delivered in 1927 by Turkey's founder, Mustafa Kemal Atatürk. In analyzing Nutuk and its rhetorical features, we identify the mythic underpinnings Atatürk employed to construct a modern “Turkish people.” We use this case to further our understanding of the constitutive discourses of nationalism. We believe Atatürk's Nutuk provides a profitable discourse to think with as we attempt to understand Muslim nations and their negotiation of modernity. 相似文献
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Tasha R. Rennels 《传播与批判/文化研究》2013,10(3):271-288
Depictions of white working-class people are steadily on the rise in reality television. To understand this phenomenon, and the ways in which it articulates white working-class people in the United States today, I analyze Here Comes Honey Boo Boo, a popular reality series on TLC featuring a self-described “redneck” family. I argue that this series highlights the family's inability—because of their working-class status—to conform to “ideal whiteness,” a whiteness that displays dominant cultural standards bolstered by neoliberalism, such as wealth, rationality, personal responsibility, and self-control. The family members consequently become exemplars of “inappropriate whiteness,” a marginal identity presented as humorous and, through the use of surveillance and spectacle, authentic. 相似文献
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Cara Wallis 《传播与批判/文化研究》2013,10(4):341-358
This article presents an ethnography of a group of young women from rural China who attended a three-month computer-training course and then were placed in a data input company in China. Building upon scholarship on “Chinese governmentality,” I argue that although the training emphasized individual “quality” (suzhi) and the attainment of “useful” skills, once the women were employed their choices as autonomous individuals were severely limited through workplace disciplines that problematize notions of self government. I show how multiple modes of power were deployed to produce rural women as low-tech laboring subjects necessary for China's domestic development and participation in global capitalism. 相似文献
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Helen Morgan Parmett 《传播与批判/文化研究》2016,13(1):3-22
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