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1.
Helene A. Shugart 《Critical Studies in Media Communication》2013,30(1):67-91
In recent years, the gay man/heterosexual woman couple configuration has become a genre unto itself in mediated popular culture, resulting in unprecedented mainstream visibility for gay men. Major mainstream films, such as My Best Friend's Wedding, Object of My Affection, and The Next Best Thing, showcase this combination as their centerpiece, as does the highly rated prime-time network situation comedy, Will & Grace. In this essay, I assess this particular performance of gay identity in order to discern what qualities render it – as presented in this configuration – not only acceptable but popular, given the heteronormative sensibilities that characterize the mainstream audience to which it is directed. I argue that, in these texts, homosexuality is not only recoded and normalized in these representations as consistent with privileged male heterosexuality but is articulated as extending heterosexual male privilege. In so doing, blatant sexism is reinvented and legitimized, and gay male identity simultaneously is defined by and renormalizes heteronormativity. 相似文献
2.
Anna Zoellner 《Mass Communication and Society》2013,16(4):503-536
This article addresses the development process of documentary programs in British television broadcasting and explores how production factors influence the creation of television documentaries. It focuses on the power of the producer to select and present media content and asks how the power relations within the broadcaster–publisher system impact on content and form of new program ideas. It is specifically interested in the negotiation of decision-making processes during the development stage prior to commission, asking how and why specific content is selected for development. Based on the results of an ethnographic study in an independent production company, four program conventions are described that are conditional for the selection of new project ideas. Combined with economic pressures and independents' limited potential for agency, these professional conventions facilitate the reproduction of the familiar over variation. 相似文献
3.
《Journal of Web Librarianship》2013,7(2-3):177-204
ABSTRACT Library patrons familiar with Web searching conventions often find library searching to be less familiar and even intimidating. This article describes and evaluates a series of usability research studies employing two different and popular methodologies: user-centered redesign and usability testing. Card sorting and affinity mapping were used to conceptualize how information should be classified and presented on the library's main page. Usability scenarios and think-aloud protocols were used to explore how students, especially those new to the campus, conceptualize the information-seeking process and how they go about conducting a search. Participants included library employees, university faculty, staff, and students. These methods can be replicated by any library, large or small, and demonstrate that even small-scale usability evaluations can improve patrons' understanding of and access to library resources. 相似文献
4.
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
5.
Nickie Michaud Wild 《广播与电子媒介杂志》2015,59(3):494-508
Political comedy on television has become an increasingly relevant and informative source which voters, and commentators in the official journalistic public sphere, draw upon. Saturday Night Live has long been a cultural forum of representation of American Presidential Candidates. Two parodies of candidates in particular stand out in the 21st century: Will Ferrell's impression of George W. Bush in 2000 and Tina Fey's of Sarah Palin in 2008. Journalists in the New York Times and Washington Post tended to reject the Ferrell impression as meaningless, while using the Fey parody to represent their own opinions. Why was the satirical portrayal of Palin more salient? The Fey impression resonated with writers in the public sphere in a much more substantive manner than the Ferrell impression, which focused mostly in personal characteristics. This period marks a transition of personality-based humor to more substantive satire. 相似文献
6.
Jonathan Gray 《Critical Studies in Media Communication》2013,30(3):223-238
This paper examines televisual parody as a media literacy educator, and the potential of parody to channel the powers of comedy and entertainment in order to “teach” the techniques and rhetoric of televisual texts and genres. It focuses on the case of the hugely successful and popular animated parodic sitcom, The Simpsons, and its playful attack on advertising and promotional culture. Currently in its 16th season, The Simpsons broadcasts to approximately 60 million viewers in 70 countries weekly, offering a playful critique of television from within the television frame. 相似文献
7.
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
8.
Claire Shinhea Lee 《亚洲交流杂志》2013,23(4):353-371
This study investigates the ideological implications of Nambowon (‘the Committee for Men's Rights’), one of the most popular sketches in a live comedy series entitled Gag Concert in Korea. The sketch humorously criticizes women who take advantage of men in various situations and always ends with a funny slogan demanding equal rights for men and the end of reverse gender discrimination. We treat Nambowon not as an idiosyncratic text but as part of Korean television programs that portray the rising social status of women as well as gender differences. Previous studies of gender and comedy have typically focused on textual meanings, and relatively little work exists to explain the audience's reception. Thus, we explore why audiences enjoy the show and whether and why there are differences in the reactions of male and female viewers to the portrayal of gender in Nambowon. 相似文献
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R. Colin Tait 《The Communication Review》2014,17(3):166-182
The key to Will Ferrell’s success is his genuinely likeable comic persona that relies on overdetermined and excessively masculine and feminine traits. Accordingly, this article argues that despite criticism surrounding Ferrell’s comedic films, they actually have a great deal to tell us about masculinity and comedy in the new millennium. By discussing Anchorman, Elf, and Talledega Nights: The Ballad of Ricky Bobby, the author asserts that Ferrell’s films map changes to masculine identity in the post-9/11 era by their representations of absurd masculinity embodied in Ferrell’s comic persona. 相似文献
11.
Elia Powers 《广播与电子媒介杂志》2014,58(3):342-364
Media consumers have grown accustomed to content that is broken down into digestible chunks. Portlandia, an Independent Film Channel (IFC) comedy series that affectionately satirizes Portland, Oregon's hipster culture, offers a model of how to attract online viewers and create television programming using short videos intended for a niche audience. IFC promotes these decoupled, song-length clips online and encourages sampling and sharing. Using interviews and an analysis of the program's structure and content, this case study explores how Portlandia takes advantage of the synergy between television and new media, and the way audiences consume video programming in the digital age. 相似文献
12.
Dan Berkowitz 《Journalism Practice》2016,10(1):1-17
Following a twerk-heavy performance by Miley Cyrus on the Video Music Awards program, CNN featured the story on the top of its website. The Onion—a fake-news organization—then ran a satirical column purporting to be by CNN's Web editor explaining this decision. Through textual analysis, this paper demonstrates how a Fifth Estate comprised of bloggers, columnists and fake-news organizations worked to relocate mainstream journalism back to within its professional boundaries. 相似文献
13.
《Journal of Radio & Audio Media》2013,20(1):47-64
National Public Radio's flagship news program All Things Considered has long been known for its sophisticated style of political and cultural news coverage. In past years the program has increased the number and types of popular culture stories covered to reflect the changing interests of listeners. This content analysis found that coverage of popular culture significantly increased in relation to the more traditional “high” culture stories, such as opera and art. The results suggest that All Things Considered is working to bring more popular culture coverage to the program while not losing focus on its traditional style of news coverage. 相似文献
14.
Rosya Izyanie Shamshudeen 《亚洲交流杂志》2013,23(2):142-157
This paper analyses the audience reception of the Malaysian reality television programme Akademi Fantasia (AF), which first aired in 2003 and completed its ninth season in 2011. AF has been an influential pioneer in the national television industry, inaugurating the trend of local reality shows and weathering intense competition from similar shows to remain at the top of the ratings chart over the last decade. Based on the Mexican talent search show, La Academia, Malaysia's AF is a unique hybrid blend of an Idol-style talent contest and Big Brother observational spectacle. The article draws on primary audience research to investigate the ways in which Malay audiences interpret the potentially incommensurable cultural meanings generated within the context of a localised version of a global television format. Chua's concept of ‘identification and distancing’ is employed as a framework to analyse the complex ways in which perceived Malay ‘cultural norms’ assume primacy as interpretative lenses for audience evaluations of the show and measures of its local difference from similar global cultural products. The research also reveals how these cultural norms are themselves being negotiated by the audience as part of the everyday experience of inhabiting coexisting local and global popular cultural spaces. The analysis focuses on audience understandings and pleasure in the programme in relation to fashion and taste; the behaviour of the official judges; voyeurism and conflict in ‘backstage’ coverage; and emotional intimacy onstage in the public performance component of the programme. 相似文献
15.
Susan Tyler Eastman Gregory D. Newton Paul D. Bolls 《Journal of Applied Communication Research》2013,41(3):238-259
This study assessed the impact of content--as opposed to structural--factors on television program ratings, seeking to locate clusters of components that would identify effective on-air promotion and allocate content a better-defined place within theoretic models of media priming. Stepwise multiple regression analyses of 1,547 on-air promos for 155 prime-time programs demonstrated that 5-9% of ratings variance was accounted for by content appeals, humor, and presentation in promos for comedy programs. The influence of content variables was greater for familiar than unfamiliar comedies, and humor and presentation in promos contributed to variance in ratings for mid-rated but not high- or low-rated comedies. 相似文献
16.
Susan Tyler Eastman Gregory D. Newton Paul D. Bolls 《Journal of Applied Communication Research》2003,31(3):238-259
This study assessed the impact of content--as opposed to structural--factors on television program ratings, seeking to locate clusters of components that would identify effective on-air promotion and allocate content a better-defined place within theoretic models of media priming. Stepwise multiple regression analyses of 1,547 on-air promos for 155 prime-time programs demonstrated that 5-9% of ratings variance was accounted for by content appeals, humor, and presentation in promos for comedy programs. The influence of content variables was greater for familiar than unfamiliar comedies, and humor and presentation in promos contributed to variance in ratings for mid-rated but not high- or low-rated comedies. 相似文献
17.
Steve Craig 《Journal of Radio & Audio Media》2013,20(2):232-248
During a 1937 appearance on NBC's top-rated Chase & Sanborn Hour, Hollywood icon Mae West starred in a comedy skit based on the Garden of Eden that drew complaints of indecency from offended listeners. Much of the reaction came from Catholic reformers seeking to expand the Legion of Decency's influence to radio. The sponsor and network apologized, and the Federal Communications Commission (FCC) issued a letter of reprimand to NBC and its affiliates. This action spurred a backlash among critics, who charged the FCC with censorship. The incident was an important landmark in the prewar debate over government's role in regulating radio. 相似文献
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Danielle M. Stern 《The Communication Review》2013,16(1):50-77
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
20.
《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