Popular Culture, Moral Narratives and Organizational Portrayals: A Multimodal Reflexive Analysis of a Reality Television Show

Author(s):  
Carine Farias ◽  
Tapiwa Seremani ◽  
Pablo D. Fernández
2020 ◽  
Vol 10 (1) ◽  
Author(s):  
Sandra Wallenius-Korkalo

This article analyses representations of Conservative Laestadianism in contemporary Finnish and Finnish-American popular culture. Drawing from political studies, religious studies and cultural studies, the article sheds light on the ways in which Conservative Laestadianism is present in societal debate and in the cultural imagination. Focusing on religious corporeality, the article scrutinises the embodied practices of Conservative Laestadianism and the ways in which the representations participate in making sense of gender, sexuality, and power in religious communities. Contemporary understandings in popular culture are revealed through the detailed analysis of four cultural products of different genres depicting Conservative Laestadianism: a film entitled Kielletty hedelmä (Forbidden Fruit, 2009), a novel entitled We Sinners (2012), a reality television show entitled Iholla (On the Skin, 2013), and a play entitled Taivaslaulu (Heavensong, 2015). As a synthesis of the representations of Conservative Laestadianism, the article presents a dynamic triad of care, longing, and control. Furthermore, the article raises questions about the potential of popular culture in calling for a dialogue between Conservative Laestadianism and society at large.


2020 ◽  
Vol 33 (3-4) ◽  
pp. 131-148
Author(s):  
Outi Hakola

Tässä artikkelissa käsittelen Donald J. Trumpia tapaustutkimuksena siitä, miten populismi on strategisesti valjastanut audiovisuaalista populaarikulttuuria käyttöönsä. Näen strategisuuden monitasoisena toimintana, jossa populaarikulttuuriset esiintymiset ja esitykset pyrkivät rakentamaan tavoiteltuja mielikuvia populismista ja populistisesta johtajuudesta. Artikkelissa tarkastelen Trumpin tunnetuksi tehnyttä televisiosarja Diiliä (The Apprentice, 2004–2017), jossa rakennettiin mielikuvia Trumpin johtajuudesta, ja Trumpien kannattajien sosiaaliseen mediaan tuottamia Trumpwave-videoita, joissa vastaavasti ylistetään näitä johtajataitoja. Sekä Trumpin omat populaarikulttuuriset esiintymiset että hänestä tehdyt esitykset osoittavat populismin ja populaarikulttuurin monitasoista suhdetta. Ensinnäkin ne osoittavat, miten populaarikulttuuria voidaan hyödyntää poliittisen imagon luomiseen osana populistista toimintaa. Toiseksi ne tuovat esille erityisesti populaarikulttuuriin liittyviä strategioita, joita ovat kertomuksellisuus, tunteiden merkitys ja osallistuva mediakulttuuri. Kertomuksellisuudella rakennetaan tarinoita, jotka ovat helposti lähestyttäviä ja tunnistettavia, kuten tositelevisiomainen pelillisyys osana politiikkaa. Kertomuksiin liittyy myös tunteellisten ja affektiivisten mielikuvien luonti esimerkiksi nostalgisuuden ja kansanomanomaisuuden avulla. Tällä tavalla katsojia kutsutaan kokemaan asioita populistisesta näkökulmasta ja vedotaan äänestäjiin ”tavallisten ihmisten” tasolla. Osallistuva mediakulttuuri mahdollistaa ”kansan” mobilisoinnin, jossa koettuja tarinoita uudelleen tuotetaan, muokataan ja jaetaan omaehtoisten viestien ja yhteisöllisyyden kautta. Kertomuksellisuuden, tunteiden ja osallistavuuden sisältä voidaan tunnistaa samoja strategioita, joita populismissa on laajasti hyödynnetty populaarikulttuuristen kontekstien ulkopuolella. Muun muassa johtajuuden, maskuliinisuuden ja intersektionaalisten sosiaalisten hierarkioiden (rotu, sukupuoli, seksuaalisuus, luokka) kautta rakennetaan populismille tyypillisiä erontekoja ”meidän” ja ”heidän” välille. Populaarikulttuurin maine laajojen yleisöjen kulttuurimuotona vahvistaakin ajatusta kansalle puhumisesta ja kansan edustamisesta. Samalla populaarikulttuurin hyödyntäminen osana populistista toimintaa korostaa tämän kulttuurimuodon potentiaalia poliittiseen, ideologiseen ja yhteiskunnalliseen vaikuttamiseen.   Audiovisual popular culture as populist strategy: Case study of Donald J. Trump   In this article, I consider Donald J. Trump as a case study of how populism has strategically utilized audiovisual popular culture. Here, I understand populist strategy as a complex phenomenon, where popular performances and representations aim to construct desired understanding of populism and populist leadership. My analysis is based on the reality television show The Apprentice (2004–2017), which enhanced Trump as a popular culture figure and built an image of his leadership, and on the Trumpwave videos where Trump’s supporters produce social media videos that idealize his populist leadership. The complex relationship between populism and popular culture is visible both in Trump’s performances and in the representations of him. First, these performances and representations show how popular culture can be used to create political brands that serve populist goals. Second, they bring forward strategies that are typical for popular culture, including importance of stories, emotions, and participatory media culture. By using recognizable and accessible stories, such as a game show model of reality television, politics becomes recognizable for general audiences. Stories often invoke emotions and affects, such as nostalgia or vulgarity, that invite audiences to experience issues from the populist viewpoint and that address the audiences through shared culture. Participatory culture enables mobilization of “the people”, who can then reproduce, modify and share their stories and experiences with their own popular culture products. Within stories, emotions, and participatory culture we can recognize the similar strategies that have been widely used by various populist movements. For example, representations of leadership, masculinity and intersectional social categories (race, gender, sexuality, class) construct typical populist differentiations between “the people” and “the elite”, or “us” and “them”. While popular culture is understood as a culture for masses, its utilization in populist narratives supports the idea of talking to and representing “the people”. At the same time, using popular culture as part of populist strategies emphasizes the political, societal and ideological potentials of popular culture.


Author(s):  
Terrion L. Williamson

For commentators concerned with black cultural production in the contemporary era, there are few images more controversial than the angry black woman, particularly as it is reproduced within the confines of reality television. This chapter traces the lineage of the angry black woman back to key black feminist texts of the 1970s, arguing that the trope emerges out of a distinct sociopolitical history that was codified within both public policy and popular culture throughout the decade. Blaxploitation films became the site where black women’s anger was most visibly commodified, even as black women involved in an emergent black feminist movement worked to combat withering social commentaries that included Daniel Patrick Moynihan’s matriarchy thesis and sexist takedowns of black women writers like Ntozake Shange and Michele Wallace.


Author(s):  
Harry Hendrick

After describing New Labour's use of 'the child' as a form of human capital in social investment, and its penal ASBO programme as a breeding ground for childism, the chapter focuses on the government's innovatory ideal of disciplinary governance, encoded in neoliberal practice, to explain how, with reference to parent education, the behavioural approach to child-rearing grew to be regarded as normal and natural. The chapter discusses Supernanny, the reality television show, as an example of how, through the principles of narcissism, behaviourism and childism were popularised. The chapter argues that the effect of the neoliberal parenting industry on parent-child relations has been to negate the 'unconditional' in parental love in preference to a managerial and contractual approach that epitomises the general principles of neoliberalism and the specifics of the narcissistic temperament.


2020 ◽  
Vol 5 (2) ◽  
pp. 49-68
Author(s):  
Angelique Nairn ◽  
◽  
Matthews Matthews ◽  

The sexualisation of culture has generated much debate in western discourse around its effect on the normalisation of nudity and sexual activity. The reality television show Naked Attraction has increased the dialogue around this debate after its airing, originally in the UK, and then in international territories. The show has been applauded for profiling diverse people, whether that be concerning sexual orientation, body image, gender or ethnicity. However, it has also been accused of showcasing pornography. To explore where New Zealanders’ attitudes were positioned on the show, we thematically analysed online comments from two local media entities and found that New Zealanders were positive on its nudity and approach to sexual discourse.


Author(s):  
Danielle Ligocki ◽  
Martha Ann Wilkins

Popular media has become a central aspect of life for many individuals. With that exposure to media comes imagery that contains messages both covert and overt that are readily consumed by the viewers. Adolescents are especially influenced by these images because of their frequency and use of media. This study addresses the ways in which middle school students interpret and internalize stereotypical imagery found in popular culture, specifically reality television, and examines the role of the teacher and greater school community in helping students to identify and mediate stereotypical images. Through participatory literacy strategies, classrooms everywhere can become an educative, critical, thoughtful space for both students and teacher.


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