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1.
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   

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3.
In this essay, we argue that the popular joke, “that’s what she said” is a symbolic representation of rape that contributes to and insulates rape culture. Drawing on Joseph Boskin’s notion of the “joke cycle” and extant literature on rape culture and misogynistic humor, we critique several instances of the joke on the popular television series The Office. From there, we extend our critique of the joke cycle, noting the conspicuous absence of concern over the joke and its implications in other scholarly treatments of the program. Our primary contention is that the joke cycle, which may be the most prominent cycle in recent decades, reinscribes rape culture by normalizing discourses that dismiss and silence rape victims, justify violence against women, and even blame victims for having been assaulted. “That’s what she said” avoids the critical eye because it disguises itself as a joke like any other.  相似文献   

4.
ABSTRACT

Drawing on Stuart Hall’s influential “Notes on deconstructing ‘the popular’” [Hall, S. (1981). In R. Samuel (Eds.), People’s history and socialist theory (pp. 227–240). London: Routledge and Kegan Paul.], this essay maps out some of the major shifts in cultural studies’ relationship to popular culture over the past several decades. It concludes with a call for cultural studies to find ways to work from the terrain of the popular, rather than merely studying that terrain, or trying to “translate” its scholarly analyses for popular audiences. This is a necessary path to fulfilling its mission as a political project.  相似文献   

5.
In this paper, I argue that listening to a film is as significant as watching it; in spite of what seems like a formalist argument, I examine in what ways such an approach intervenes in the production of knowledge around Philippine history and Filipina/o bodies. In Kidlat Tahimik's film, Mababangong Bangungot, an overprivileging of the visual aids and abets the film's masculinist nationalism, despite the best efforts of critics to find a “third term.” That third term just might come from listening to the film, which delivers its own kind of postcolonial and feminist critique, one which impacts how we think about contemporary communication and cultural studies.  相似文献   

6.
ABSTRACT

In January 2018, a feminist blog, babe, detailed an anonymous woman’s date with comedian Aziz Ansari, ending with her accusation that he had sexually assaulted her by escalating his sexual advances despite her verbal and nonverbal objections. Online reaction to the babe article was swift and plentiful, including a New York Times editorial written by conservative provocateur Bari Weiss entitled, “Aziz Ansari is Guilty. Of Not Being a Mind Reader.” Weiss’ piece drew 2953 online responses before the comment section closed the next day, with wide-ranging views addressing the respective behaviors and motivations of Ansari, “Grace,” and Weiss. The responses provide an opportunity to explore how commenters negotiate the boundaries of the #MeToo movement in the venue that had ignited the movement’s resurgence with the story of movie mogul Harvey Weinstein’s longstanding sexual abuse of women working in the film industry. This study applies quantitative and qualitative analysis to comment discourse and elicits three major themes: (1) expectations for seeking or conveying consent, (2) criteria for publicizing the private, and (3) demarcations between insensitivity and abuse. Justifications frequently offered for the positions articulated were based on references to personal experience, cultural expectations, the #MeToo movement, and feminism.  相似文献   

7.
This paper examines representations of mental illness in popular film, particularly Richard Ayoade’s The Double and Dan Gilroy’s Nightcrawler. As I argue, both films trouble typical Hollywood narratives of mental illness by situating schizophrenia and psychopathy, for instance, within a socioeconomic context, specifically relations of production under late capitalism and the unfettered self-interest of neoliberalism. If mental illness is a product of the postindustrial workplace in The Double, it becomes a prerequisite for success in Nightcrawler, providing a cinematic depiction of mental illness at odds with the “personal pathology” paradigm that dominates the current neoliberal landscape.  相似文献   

8.
In this article we locate, interpret, and critique the figure of the “bad” white mother, focusing on the critically acclaimed AMC drama, Mad Men. Advancing feminist and postcolonial approaches to myth, we uncover a prevailing “white consciousness” that relies on racializing logics in, first of all, Mad Men’s representations of (white) motherhood through the character of Betty Draper, and second, public discussions of the show in academic and media outlets. Drawing on Black feminist thought, we propose that these discourses rely on and feed underlying assumptions that support post(racial)feminism—an ideological location that allows for the explicit embracement of “bad” mothering as a progressive, even transgressive act that, at the same time, implicitly relies on expectations for (good) mothering shaped by white privilege. This cross-pollination between postfeminism and whiteness, we argue, is especially important to engage, since it carries potentially limiting implications for our collective imagination about what anti-racist and feminist struggles should entail.  相似文献   

9.
“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   

10.
–Recently, the mainstream media have begun to include positive portrayals of gays and lesbians. This essay suggests that these positive portrayals demand critical scrutiny to determine how they redefine mainstream culture and how they serve to challenge and/or reinforce heterosexual bias. In an analysis of To Wong Foo, Thanks for Everything! Julie Newmar, we examine how a narrative film negotiates the practice of drag and represents gay male “drag queens” through a progressive refiguring of the monomythic themes which inform the popular genre of Western film.  相似文献   

11.
This paper explores the themes of sacrifice and consumption in World War II advertising, including content analyses of advertisements and editorials in the Saturday Evening Post as well as a textual analysis of articles in the advertising trade publications Printer’s Ink and Industrial Marketing in 1942 and 1943. Results are discussed in terms of Cohen’s (2003) concepts of “citizen consumer,” “purchaser consumer,” and the ultimate American postwar dual-identity: “purchaser as citizen.”  相似文献   

12.
Essence magazine is the longest operating magazine catering to a predominately African-American women audience in the US. In 2000, media conglomerate Time Warner purchased 49% of Essence parent company Essence Communications Inc. In 2005, Time Warner purchased the remaining 51% of the black-owned company. As a media conglomerate, Time Warner owns major publishing houses, film, and television production companies, including 130 magazines, New Line Cinema, CNN, and HBO. Essence states it is “the voice and soul of Black women” Collins [Collins, P. H. (2000). Black feminist thought: Knowledge, consciousness, and the politics of empowerment. New York, NY: Routledge] argues that black women must speak in their own voices in order to reject prevailing stereotypes operating on the bodies of black women. The mission statement of Essence aligns itself in what Collins calls “safe spaces” for black women to self-define themselves and articulate their lived realties. A critical theoretical framework allows uneven power relations to be examined and offers emancipatory perspectives. The goal of this study is to examine if Time Warner’s purchase of Essence has caused a shift in the voice and content of this magazine.  相似文献   

13.
–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   

14.
《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   

15.
The first season of Serial, to date the most popular podcast in the medium’s decade-long history, told the story of the conviction of 18-year-old Adnan Syed in 2000 for the murder of his ex-girlfriend, Hae Min Lee. At the center of Serial, producer Sarah Koenig presented Syed’s voice, his take on the prosecution’s evidence, and his own contemporaneous experience. This essay examines the way Serial used Syed’s voice to challenge institutional truth claims from within the textual space of crime journalism. “Criminal biography,” as a genre affordance of true crime, offers a textual means to interrogate modes of truth production and representation.  相似文献   

16.
In October 2016, Donald Trump was in the midst of a hotly contested and sharply divisive presidential campaign. Days before the second presidential debate, The Washington Post posted a video of Trump “having extremely lewd conversation about women in 2005.” This video and the firestorm of criticism it provoked threatened to derail his presidential run. Mr. Trump and his wife Melania Trump offered several messages to repair his damaged image. This article analyzes and evaluates these image repair messages concerning Donald Trump’s “Access Hollywood” video. In such a divisive context, the defense had no hope of repairing Trump’s image with the general public (Trump lost the popular vote by 2.9 million). Even though he lost the popular vote, the business magnate won the Electoral College. We cannot say that the “Access Hollywood” video was solely responsible for Trump’s poor popular vote showing, but it is clear that this defense did not completely dispel the cloud surrounding him.  相似文献   

17.
ABSTRACT

Ethnocentrism affects perception and choices, and scholars, teachers, and students may not see or seek the “global” in our “global information revolution,” especially in such vast monolingual social spaces as the United States and the Anglophone world. Russia illuminates how unfortunate this state of affairs is because perceptions of Russia are so negative; whereas online information and open access there are so plentiful. Elibrary.ru offers free, full-text access to Russia’s periodical scholarship in all disciplines. Postnauka.ru is a lecture platform for Russian academics that rivals TED Talks in scale and production quality. Kul’tura is a federal television channel devoted entirely to education. Academic talk shows constitute part of the programming there and elsewhere. High-quality and reliable online tools such as these can enhance “Western” scholars’ and educators’ resource repertoires.  相似文献   

18.
Abstract

Reading in Czechoslovakia under Communism did not conform to the official line maintaining that citizens were primarily interested in serious political works. On the contrary, surveys revealed that light fiction and works from the West were the books with the highest public library circulation. The long period of spiritual stagnation led to the degradation of critical ability, one result of which was that some sophisticated and controversial Western works such as John Irving’s The World According to Garp were acceptable to Communist authorities because they were mistakenly deemed “light literature”. In the years immediately following the demise of Communism, Czech public library users did not show a radical change in their choice of titles, but the author points out that the recently improved distribution and availability of both “high” and “low” literature may have altered habits considerably in the period since the survey was done.  相似文献   

19.
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   

20.
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   

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