Rescaling the global borderlands: Transperipheral projections from ‘the heart of the Amazon’

2021 ◽  
pp. 1-21
Author(s):  
Joel Windle ◽  
Luiz Paulo Moita-Lopes

Abstract This article examines semiotic resignifications undertaken in ‘peripheral’ cultural production through an ethnographic analysis of the trajectory of the Amazonian artist, Jaloo. Jaloo occupies multiple positions of marginality in Brazilian society and artistic scenes, which he connects to other global peripheries in his performances, aesthetics, and self-narratives. Building on anthropological and sociolinguistic scholarship, we show how ‘peripheral’ status is managed by Jaloo in the context of a growing and politicised audience for outsider and alternative cultural production. We theorise Jaloo's negotiation of his relationship with audiences and the media as rescaling. Further, we argue that this rescaling entails the ordering of semiotic resources into a social imaginary that reconfigures peripheral territories and identities, which we consider in terms of a transperipheral chronotope. (Inequality, chronotopes, indexicality, race, coloniality, scales, periphery)

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.


2005 ◽  
Vol 7 ◽  
pp. 11-23
Author(s):  
Graham Murdock

This article puts forward the fundamental lines of thought on the Political Economy of Communications and the Media, since the development of capitalism up to the present day. Clarifying the distinction between Economy and Political Economy, this work examines the central split between two traditions within Political Economy: the Classic approach which is centred on markets and competition mechanisms and the Critical approach which is centred on the analysis of property and the distribution of power in society. Despite internal distinct traditions, for political economists’ questions about cultural production and consumption are never simply matters of economic organisation or creative expression and the relations between them. They are always also questions about the organisation of power and its consequences for the constitution of public life. Based on different Political Economy perspectives, this article attempts to present the most recent developments on communications and media markets in Europe and the major challenges and opportunities the discipline faces in a time marked by the emergence of a digital public sphere.


2018 ◽  
Vol 2 (1) ◽  
pp. 15-28
Author(s):  
Salvatore Giusto

In the summer of 2013, two major televisual outlets released a groundbreaking campaign of information about a massive mafia-lead traffic of toxic and radioactive waste involving the peripheries of Napoli and Caserta, southern Italy, which was historically covered up by the national secret services. The widespread mass-mediation of such a dramatic news significantly impacted the local cultural sphere. At the same time, it elicited eclectic (re)actions among the dwellers of these two areas, which the media dubbed as the “Land of Fires.” This article ethnographically analyzes the “Land of Fires” case study as a discursive milieu that mirrors the relationships between power, cultural production, and political change in neoliberal Italy. In so doing, it aims to redefine the contemporary Italian mediascape, which most academic literature describes as a “cynical” machine of political consent merely engendering “televised” subjectivities amid its publics, as an highly controversial (but still sophisticated and vibrant) space of socio-cultural production.


2020 ◽  
Vol 42 (7-8) ◽  
pp. 1293-1308
Author(s):  
Amal Jamal ◽  
Noa Lavie

This article explores the complexity of minority creative workers in the media industry. It challenges the common notion in the literature that minority creative workers are fully submissive to the dominant power structure and examines whether such workers could still be conceived as active agents by resisting submission and marginalization even when they cannot influence their own representation in hegemonic media texts. To answer this question, it explores the performances of minority creative workers in a hegemonic cultural industry. To determine whether one can speak of subaltern agency and, if possible, examine how it manifests itself in reality, it addresses the daily performances of Palestinian creative workers during the production of the second season of the Israeli television series, Fauda. Observations conducted during production demonstrate that since in such contexts minority creative workers cannot avoid being projected in negative roles in the media text, they adopt creative subversive practices of passing and transgressive mimicry, resisting full compliance with the production, without endangering their own position. By doing so, the article contributes not only to the emerging field of creative entrepreneurship in cultural production, but also enables determination of common practices of creative subversion in the cultural industries.


Comunicar ◽  
2009 ◽  
Vol 16 (32) ◽  
pp. 209-214
Author(s):  
Núria García-Muñoz ◽  
Luisa del Carmen Martínez-García

This article aims to outline the positive assessments made by the public, through the service of the Catalan Women’s Institute (ICD) on speeches containing media representations of gender. It is a way to illustrate how the products of cultural industries are part of the audience’s social imaginary and how it is able to identify and assess constructive representations of gender. The media and audience as agents of social change suggest ways of teaching on gender issues. Finally, the text encourages us to think about the possibility of creating and enhancing educational strategies to form a critical audience that generates proposals, guidelines, a discourse on gender according to social reality.Este trabajo tiene como objetivo describir las valoraciones positivas realizadas por la ciudadanía a través del servicio del Instituto Catalán de las Mujeres (ICD) sobre los discursos mediáticos que contienen representaciones de género. Es una forma de ilustrar cómo los productos de las industrias culturales forman parte del imaginario social de la audiencia y cómo ésta es capaz de identificar, valorar, las representaciones constructivas de género. Los medios de comunicación y la audiencia como agentes sociales de cambio sugieren vías pedagógicas sobre cuestiones de género. Finalmente, el texto nos anima a pensar en la posibilidad de crear y potenciar estrategias educativas para formar una audiencia crítica que genere propuestas, pautas, sobre un discurso de género acorde a la realidad social.


2003 ◽  
Vol 39 (1) ◽  
pp. 107-108
Author(s):  
Timothy Marjoribanks

2016 ◽  
pp. 41
Author(s):  
Javier Gómez Dávila ◽  
Rafael De Aguiar Arantes

ResumenEs innegable la importancia y la fuerza que el estudio de los imaginarios urbanosha cobrado en los últimos años en las disciplinas espaciales, incluyendola sociología urbana. Este trabajo analiza el origen, los significados y lasconsecuencias de uno de los imaginarios urbanos más latentes y poderososen las ciudades latinoamericanas: el imaginario del miedo, el cual, con sumezcla de violencia real y percepción subjetiva de la sociedad, se ha convertidoen la forma de habitar de la ciudad contemporánea latinoamericana, volviéndolaun espacio de miedo e inseguridad, situación potencializada por elmercado inmobiliario y los medios de comunicación. Este trabajo toma comocasos de estudio las ciudades de Salvador de Bahía, en Brasil, y Monterrey, enMéxico, para analizar las manifestaciones sociales y urbanísticas de este imaginario,encontrando que el imaginario del miedo no es solamente un miedoa la violencia e inseguridad, sino también a mezclarse con el otro, una negaciónde la heterogeneidad, la diversidad y la sociabilidad que siempre hancaracterizado a las ciudades, provocando así manifestaciones de aislamientoy segregación arquitectónicas, que hacen cada vez más difícil alcanzar unconcepto de sustentabilidad urbana real.Palabras clave: imaginarios sociales, miedo, segregación, América Latina. The Latin-American urban imaginary of fear:evidence from studies in Salvador, Brazil, andMonterrey, MexicoAbstractThe importance and strength that the study of urban imaginary has gainedin recent years in space disciplines is undeniable, including urban sociology.This paper analyzes the origin, meaning and consequences of one ofthe most latent and powerful urban imaginary in Latin American cities:the imagination of fear, which, with a mix of real violence and subjectiveperception of society, has become the way of living of Latin American contemporarycity, as a place of fear and insecurity, a situation potentiated bythe housing market and the media. This work takes cities of Salvador deBahia in Brazil and Monterrey, Mexico, as case studies to analyze social andurban manifestations of this imaginary, finding that the imaginary of fear isnot just about violence and insecurity but also about relating with others,a denial of heterogeneity, diversity and sociability that have always characterizedthe cities, causing manifestations of insulation and architecturalsegregation. This makes that reaching a concept of real urban sustainabilityis increasingly difficult.Keywords: social imaginary, fear, segregation, Latin America.O imaginário urbano do medo na América Latina:evidências de estudos em Salvador de Bahía,Brasil e Monterrey, MéxicoResumoÉ inegável a importância e força que o estudo dos imaginários urbanos temganhado nos últimos anos nas disciplinas espaciais, incluindo a sociologiaurbana. Este trabalho analisa a origem, os significados e as consequências deum dos imaginários urbanos mais latentes e poderosos nas cidades latino--americanas: o imaginário do medo, o qual se mistura de violência real e apercepção subjetiva da sociedade, tornou-se forma de viver a cidade contemporânealatino-americana, volvendo-se num espaço de medo e insegurança,situação potenciada pelo mercado imobiliário e da mídia. Este trabalho temcomo estudos de caso as cidades de Salvador de Bahia, no Brasil, e Monterrey,no México, para analisar manifestações sociais e urbanas deste imaginário,encontrando que o imaginário do medo não é apenas um medo deviolência e insegurança, mas também, se misturar com outro, uma negaçãoda heterogeneidade, a diversidade e sociabilidade que sempre tem caracterizadoas cidades, causando manifestações de isolamento e segregação daarquitetura, o que torna cada vez mais difícil de lograr um conceito de sustentabilidadeurbano real.Palavras – chave: imaginários sociais, medo, segregação, América Latina.   


2021 ◽  
Author(s):  
◽  
Ella Reilly

<p>This thesis explores how the 1980s haunt contemporary British literature. Cognizant of a trend of cultural production (literary, film, television, music) interested in this period since the beginning of the twenty-first century, this thesis focuses on three historical novels by three critically acclaimed authors: Alan Hollinghurst’s The Line of Beauty, David Peace’s GB84 (both 2004) and David Mitchell’s Black Swan Green (2006). It reads these historical novels as memory texts conditioned both by their moment of publication (mid-2000s Britain under the premiership of Tony Blair) and the moments of the 1980s that they remember (1980s Britain under the premiership of Margaret Thatcher). These novels are oriented around different facets of the 1980s (the high-Tory world, the 1984-85 miners’ strike and the Falklands War respectively) and so, read together, offer a cumulative portrait of the decade. However, each novel is read on its own terms for its specific interests in the public aspects of the 1980s. This thesis is thus divided into three chapters, with each taking a different memory discourse or mode as its analytical approach, as invited by the particularities of the novel it examines. The Line of Beauty is read in terms of the spectral presence of heritage; GB84 in terms of occulted and occulting nostalgia; Black Swan Green in terms of the media and postcolonial melancholia.</p>


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