Remediating the culture industry

2021 ◽  
Vol 14 (1) ◽  
pp. 94-111
Author(s):  
Jade Thomas

Abstract This article examines to what dramaturgical effect Sam Shepard’s political play States of Shock (1991) remediates strategies associated with the culture industry. In plays, spectators forge an interpretation from a medium that is considered ‘hypermedial’ or capable of combining discrete signifying systems such as dialogue, costumes, acting style and scenography at the same time. In States of Shock, genre remediation implicates its audience in the spectacle of war by juxtaposing American war heroism and military ideology with entertaining vaudeville. By examining Shepard’s appropriation of the vaudeville genre in relation to other dramatic signifying systems, the article offers a new and more layered reading of the play’s supposedly ‘blatant’ political message.

Author(s):  
Tamara Vázquez-Barrio ◽  
Teresa Torrecillas-Lacave ◽  
Rebeca Suárez-Álvarez

Traditional television coexists with formats that originated on the internet, as well as on-demand consumption, paid television, and other audio-visual content distribution platforms. Audience data reveal a steady decline in television viewership, and digital technologies now allow any citizen to produce audio-visual content and distribute it for mass consumption through the internet. Given this new audio-visual ecosystem, the aim of this research is to ascertain whether there are any signs of a crisis regarding the dominance of television as a means of disseminating the products of the culture industry. Disinterest or indifference toward conventional programming by users would reveal a danger to the broadcast industry. In contrast, the consumption of television products through other channels would imply the retention of television audiences through the internet. This study analyzes perceptions regarding television through five online discussion groups. Three conclusions can be drawn: Firstly, television holds a prominent place in the daily lives of those who use it, including the youngest participants, despite the fact that audiences have declined in recent years. The second conclusion states that the perception of television is positive and associated with disengagement, relaxation, and family gatherings, which can be combined with individual consumption at other times of the day. As a third conclusion, this study reveals the high degree of compatibility between the internet and television screens, as new forms of consumption are emerging, yet there is still a predominant interest in content on television and from the mass culture industry. Resumen La televisión tradicional convive con formatos originados en internet, con el consumo bajo demanda, con la televisión de pago y con otras plataformas de distribución de contenido audiovisual. Los datos de audiencias muestran un descenso continuado de telespectadores y las tecnologías digitales permiten a cualquier ciudadano producir contenidos audiovisuales y distribuirlos para el consumo masivo a través de la Red. Ante este nuevo ecosistema audiovisual, el objetivo de esta investigación es comprobar si se pueden advertir signos de una crisis de la supremacía del televisor como medio de difusión de industria cultural. El desapego o indiferencia de los usuarios hacia la programación convencional evidenciaría un peligro para la televisión. Al contrario, el consumo de productos televisivos a través de otras pantallas implicaría el mantenimiento de las audiencias televisivas a través de internet. La investigación analiza las percepciones sobre la televisión mediante cinco grupos de discusión online. Se extraen tres conclusiones. La primera, que la televisión ocupa una posición relevante en la cotidianeidad de los participantes, incluidos los más jóvenes, a pesar de que las audiencias han descendido en los últimos años. La segunda, que la percepción sobre la televisión es positiva y se asocia a la desconexión, el relax y a un momento de reunión familiar compaginable con consumos individualizados en otros momentos del día. Tercera, el estudio demuestra el alto grado de compatibilidad entre internet y la pantalla del televisor porque surgen nuevas formas de consumo, pero se mantiene un interés predominante por los contenidos televisivos y de la gran industria cultural.


Author(s):  
Danielle Birkett

Different issues challenged the screen adaptation of Finian’s Rainbow, which was one of the most successful Broadway musicals of the 1940s but took more than twenty years to be released as a film. Using archival research, this chapter reveals the frustrated early attempts to make Finian’s into an animated film musical, partly blighted by the blacklisting of lyricist E. Y. Harburg in 1951. Ex-Disney animator John Hubley was hired to work on the film and created more than 400 storyboard sketches, designs, and character drafts for the movie. By 1954, ten key songs had been recorded by leading artists such as Frank Sinatra, Ella Fitzgerald, and Louis Armstrong; indeed, in an attempt to make the project as commercial as possible, Sinatra was assigned a part in nearly all the songs. A new prologue was added and changes were made to the story to soften its vigorous political message, but for a mixture of political and financial reasons the production was abruptly closed down; Finian’s Rainbow would not reach the screen until late the following decade.


1999 ◽  
Vol 90 (1) ◽  
pp. 123-138 ◽  
Author(s):  
Mary Ann Hunter

This article considers the place of youth arts and cultures in the cultural industries approach to cultural policy. It argues that the ‘covert economic overlay’ (Brokensha, 1996: 101) of the Australian National Culture–Leisure Industry Statistical Framework privileges certain processes in a ‘government convenient’ model of industry inputs and outcomes, and that the assumptions of this model are challenged by youth-specific and community-based modes of production. Furthermore, it argues that the philosophies and practices of contemporary youth-specific arts organisations have the potential to redefine ‘culture industry’ and contribute to a ‘coherent new paradigm’ of cultural policy (UNESCO, 1995: 232). This paper makes these arguments by examining the place of youth arts and cultures in the existing environment of cultural industrialisation, by considering recent government policy responses to young people's cultural activity and by addressing long-term policy issues for the support of young people and cultural development.


2021 ◽  
pp. 1-9
Author(s):  
M. Manokari ◽  
S. Priyadharshini ◽  
Mahipal S. Shekhawat

Abstract Micropropagation techniques allow producing large numbers of clones of genetically identical plants. However, there is evidence of disorders in internal structures due to sophisticated in vitro conditions. Such variations are responsible for the mortality of plantlets in the field and cause huge loss to the tissue culture industry. Anatomical evaluation at different growth conditions allows for understanding structural repair of in vitro raised plantlets. Therefore, the present study was aimed to identify the structural changes that occurred in micropropagated plants of Vitex negundo under heterotrophic, photomixotrophic, and photoautotrophic conditions. To achieve this, structural variations were analyzed in the plantlets obtained from in vitro, greenhouse and field transferred stages using light microscopy. Underdeveloped dermal tissues, palisade cells, intercellular spaces, mechanical tissues, vascular bundles, and ground tissues were observed with the plants growing under in vitro conditions. The self-repairing of structural disorders and transitions in vegetative anatomy was observed during hardening under the greenhouse environment. Field transferred plantlets were characterized by well-developed internal anatomy. These findings showed that the micropropagated plantlets of V. negundo were well-adapted through a series of self-repairing the in vitro induced structural abnormalities at the subsequent stages of plant development.


2021 ◽  
pp. 001458582110054
Author(s):  
Guylian Nemegeer ◽  
Mara Santi

This article argues that Gabriele d’Annunzio’s Notturno conveys a conscious political and cultural message which is consequent of his long-lasting political commitment to the nation. This political value of the book has been mainly overlooked. Therefore, the first part of the article shows the locations of the political and war-related content, and how the book can be considered as a war diary. Moreover, the first part of the article relates the Notturno to d’Annunzio’s political project for the nation at the time when the book was composed (1915–1921). The aim of this part is to dispel the enduring critical misinterpretation of the Notturno as an intimate collection of memories and visions and to foreground its national value. The second part of the article addresses the roots of the Notturno’s political message from a literary point of view by relating it to the national commitment underlying d’Annunzio’s works since the 1880s. This commitment is based on the revalorization in the author’s literary works of the Italian national past, in particular of the 16th century, where d’Annunzio continues and renews the national storytelling of the Risorgimento.


2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Yuri Pines

AbstractThis article discusses the chapter “Objection to Positional Power” (Nan shi 難勢) of Han Feizi 韓非子. It provides a full translation cum analysis of the text and explores systematically the chapter’s structure, rhetoric, and its political message. The discussion, which contextualizes the chapter’s message within broader trends of the Warring States-period political debates, demonstrates that beneath the surface of debates about “positional power” (shi 勢) versus “worth” (xian 賢), the chapter addresses one of the touchiest issues in Chinese political thought: that of the intrinsic weakness of hereditary monarchy. Furthermore, “Objection to Positional Power” also addresses problems of the meritocratic system of rule and elucidates some of the reasons for Han Fei’s dislike of meritocratic discourse. By highlighting some of the chapter’s intellectual gems I hope to attract further attention to the immense richness of Han Feizi as one of the most sophisticated products of China’s political thought.


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