The culture of ban: pop culture, social media and securitization of youth politics in today’s Russia

2021 ◽  
Vol 27 (2) ◽  
pp. 177-190
Author(s):  
Ilya Kukulin
2014 ◽  
pp. 711-730
Author(s):  
Jimmy Sanderson

This chapter explores how rookie athletes in Major League Baseball (MLB), the National Basketball Association (NBA), National Football League (NFL), and National Hockey League (NHL), used Twitter as an identity expression tool. A representative sample of tweets from athletes selected in the first round of the 2011 amateur draft of each sports league was selected for analysis. Results revealed that identity manifested in the following ways: (a) Athletes as dedicated workers; (b) Athletes as pop culture consumers; (c) Athletes as sports fans; (d) Athletes as motivators; (e) Athletes as information seekers; and (f) Athletes as everyday people. Through social media, athletes can more actively and diversely assert their identity. This action fosters identification, liking, and parasocial interaction with fans as athletes appear more approachable and similar. The ability to construct and disseminate a variety of identities holds important implications for athletes, which are discussed in the concluding section of the chapter.


2019 ◽  
Vol 5 (4) ◽  
pp. 205630511988865
Author(s):  
Peter Chonka

In 2015, a series of memes appeared on Twitter under the hashtag #HumanitarianStarWars. Combining still images from the original Star Wars movies with ironic references to humanitarian/development jargon and institutions, the memes presented a humorous reflection on the modern aid industry. While memetic content has become an increasingly scrutinized area in digital culture studies—particularly with regard to unbounded and anonymous online communities, and popular discursive contestation—this article examines #HumanitarianStarWars to shed light on the possibilities and problematics of social media auto-critique undertaken by “insiders” in a particular professional realm. Keeping in mind critiques of the racial and imperial connotations of the (Western) pop-culture mythology itself, the article explores the use of the Star Wars franchise as a vehicle for commentary on an industry at work in the “Global South.” It highlights an ambiguous process of meaning-making that can be traced through the memes’ generation, circulation, and re-mediation. Although the memes provide a satirical self-reflection on practitioners’ experiences and perspectives of power relations in the global development industry, certain tendencies emerge in their remixing of this Hollywood universe that may reinforce some of the dynamics that they ostensibly critique. The article argues that examination of the ideological ambivalence of an institutional micro-meme can yield valuable insights into tensions playing out in professional social media spaces where public/private boundaries are increasingly and irrevocably blurred.


Author(s):  
Ransford Edward Van Gyampo ◽  
Nana Akua Anyidoho

The youth in Africa have been an important political force and performed a wide range of roles in the political field as voters, activists, party members, members of parliament, ministers, party “foot soldiers,” and apparatchiks. Although political parties, governments, and other political leaders often exploit young people’s political activity, their participation in both local and national level politics has been significant. In the academic literature and policy documents, youth are portrayed, on the one hand, as “the hope for the future” and, on the other, as a disadvantaged and vulnerable group. However, the spread of social media has created an alternative political space for young people. Active participation of young people in politics through social media channels suggests that they do not lack interest in politics, but that the political systems in Africa marginalize and exclude them from political dialogue, participation, decision-making, and policy implementation. The solution to the problem of the exclusion of young people from mainstream politics would involve encouraging their participation in constitutional politics and their greater interest and involvement in alternative sites, goals, and forms of youth political activism in contemporary Africa.


2019 ◽  
Vol 63 (1) ◽  
pp. 124-145 ◽  
Author(s):  
Clovis Bergère

Abstract:This study explores social media platforms, Facebook and Twitter in particular, as emergent sites of youth citizenship in Guinea. These need to be understood within a longer history of youth citizenship, one that includes street corners and other informal mediations of youth politics. This counters dominant discourses both within the Guinean public sphere and in academic research that decry Guinean social media practices as lacking, or Guinean youth as frivolous or inconsequential in their online political engagements. Instead, young Guineans’ emergent digital practices need to be approached as productive political engagements. This contributes to debates about African youths by examining the role of digital technologies in shaping young Africans’ political horizons.


2018 ◽  
pp. 89
Author(s):  
Naili Ni'matul Illiyyun

Instagram accounts owned by cultural industry have been followed by millions of followers and are not limited to a group of people in a country because cyberspace creates unlimited communities. Cultural industries that use Instagram place halal (allowed in Islam) and syar'i (based on Islamic law) labels as important elements in promoting their commodities. The following article tries to look at the commodification of several posts on Instagram that are related to religious identity and the implications that are formed by the cultural industry in Muslim communities. The following qualitative research is analyzed by content analysis based on data collection - neographic studies - from several Instagram accounts, such as travel, fashion, and cosmetics agent acoounts which utilize Islamic attributes. The results of this study indicate that the cultural industry always introduces new trends of pop culture through Instagram by using religious attributes, such as using the terms halal, syar'i, or Muslim. Religion as an agency is widely used by the cultural industry in advertising its commodities. In addition, the agency is a tool to persuade consumers to buy commodities and at the same time it is able to identify consumers as pious and modern Muslims.


Author(s):  
Tania De Rozario

In many parts of Asia, female ghosts play an interesting role in how the supernatural is imagined and constructed. Whether she be the pontianak who waits for her victim by the side of the road, or the mother or lover who returns for revenge, the female ghost is often characterised as treading the line between agency and oppression. On one hand, she is an autonomous character who seeks justice on her own terms; on another, she is usually reduced to a victim of violence while she is alive, and her agency is only granted in death… in the transformation of her identity from victim to villain.Death Wears a Dress is a collection of poems inspired by numerous female “monsters” central to Asian folklore, many of whom continue to reincarnate through horror films, pop culture and social media. Through poetic verse, I hope to centralise, re-imagine and humanise the experiences, emotions, desires, fears and regrets of these fictitious women in an effort to unearth possible insights about gender, power, longing and justice.Death Wears A Dress is being written with the support of Singapore’s National Arts Council’s Creation Grant.


Author(s):  
Henna Jousmäki

This chapter offers insight into one of the region’s vibrant metal cultures. The analysis begins by addressing the unique place of the Nordic region in the global networks of the metal genre since the early 1990s. Conceptually, the chapter explores how notions of locality are changing with the global circulation of Christian metal in social media services, most notably YouTube. The argument is that the geography of this religious youth pop culture is expanded by the media evolution, while a distinct sense of origin remains. The analysis highlights affordances of YouTube’s search engine–based global video platform, especially user production, sharing, and interaction. The case studies are YouTube publics of the Finnish band Scandinavian Metal Praise from Finland and the Australian band Horde, illustrating how youth participation in the music’s transnational social media space redefines not only the music’s geography but also its national and religious youth identities.


2020 ◽  
Vol 5 (3) ◽  
pp. 215-227 ◽  
Author(s):  
Tania Lim ◽  
Terence Lee ◽  
Weiyu Zhang

This Special Issue of Global Media and China responds in part to Stuart Hall’s famous 1996 invocation, ‘Who needs identity?’ – to study ‘specific enunciative strategies’ utilized within ‘specific modalities of power’ so as to consider identity discourses of the present and of the future. This issue draws upon empirical observations presented and debated at the 2019 Chinese Internet Research Conference held in Singapore in May 2019, as well as theoretical contributions in identity politics and social media, the chosen site or ‘modality of power’. This editorial and critical essay reflects upon, complemented and supported by the papers in this issue, the critical and conceptual frameworks that are emerging to critique the global and local complexities, diversity and dynamics resulting from the deeper integration of social media into the everyday lives of Chinese Internet users. It presents an overview of the 2019 Chinese Internet Research Conference proceedings in terms of how social media is used to wrap personal politics into a widening range of identity groupings around gender, class, citizens, pop culture and religion in ways that signal the future of newer forms of identity politics among Internet users in China. Since social media posts and exchanges, while geographically sourced and situated, often transcend their boundaries, the arguments presented here goes beyond China and are global. The shareability of identity mediated by individual, state and public discourses on social and ‘anti-social’ media during the COVID-19 pandemic within China, Singapore and Australia leads to novel ways of understanding identity politics in globalizing China and strategic uses of Chinese identity.


2021 ◽  
pp. 001083672110502
Author(s):  
J Marshall Beier

Avoidance of civilian casualties increasingly affects the political calculus of legitimacy in armed conflict. “Collateral damage” is a problem that can be managed through the material production of precision, but it is also the case that precision is a problem managed through the cultural production of collateral damage. Bearing decisively on popular perceptions of ethical conduct in recourse to political violence, childhood is an important site of meaning-making in this process. In pop culture, news dispatches, and social media, children, as quintessential innocents, figure prominently where the dire human consequences of imprecision are depicted. Children thus affect the practical “precision” of even the most advanced weapons, perhaps precluding a strike for their presence, potentially coloring it with their corpses. But who count as children, how, when, where, and why are not at all settled questions. Drawing insights from what the 2015 film, Eye in the Sky, reveals about a key social technology of governance we have already internalized, I explore how childhood is itself a terrain of engagement in the (un)making of precision.


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