Queer Production Studies

2021 ◽  
Author(s):  
Eve Ng
Keyword(s):  
Digital Media ◽  
The United States ◽  
Media Production ◽  
Mainstream Media ◽  
Cultural Workers ◽  
Production Studies ◽  
Diversity And Inclusion ◽  
Web Series ◽  
The Creation ◽  
Media Texts

Queer production studies is a subfield of production studies that specifically considers the significance of queer identity for media producers, particularly as it relates to the creation of LGBTQ content. Its emergence as a named subfield did not occur until 2018, but there have been studies of queer production prior to that. While general production studies scholarship has focused on industrial production, the scope of queer production studies includes not just production spanning commercial, public, and independent domains, but also fan production. Queer production studies often make use of interview and ethnographic methods to investigate how nonnormative gender and sexual expression factor in the work of media producers, and also examines relevant industry documents, media texts, and media paratexts to discuss how LGBTQ media content reinforces or challenges existing norms. It considers how queer media production relates to the degree of integration or marginalization of LGBTQ people and representation within media as well as society more broadly. Currently, almost all research explicitly identified as queer production studies is conducted in U.S.-based or European-based contexts, and there is thus a large gap in scholarship of queer media production occurring elsewhere. Research on queer production in the commercial domain has addressed how LGBTQ workers have shaped the content and marketing of queer media, and the relationship of commercial LGBTQ media to independent queer media and to LGBTQ activism. In commercial print, television, and digital media in the United States, there has been some integration of LGBTQ workers beginning in the 1990s, with mixed results for content diversity and for the injection of resources into independent production, as well as a complex relationship to advancing LGBTQ causes. In national contexts with prominent state-supported media, such as the United Kingdom and various European countries, the presence of LGBTQ workers at public service broadcasters interacts with mandates for diversity and inclusion. This has had mixed outcomes in terms of both work environments and the kinds of media texts produced. In independent queer production, issues of limited resources and viewership are persistent, but the professional trajectories of queer cultural workers show that they may move back and forth between major commercial and low-budget production. Digital media has been transformative for many independent producers, facilitating the creation of more diverse content, although web series still face issues of securing resources and dealing with competition from commercial media. Queer fan production has often occurred in response to deficiencies of representation in canonical (official) media texts, taking the form of narrative works such as music videos as well as paratextual commentary. While queer fan texts typically challenge the heteronormativity of mainstream media, many do not depart significantly from other norms around gender and sex. Some fan-written queer-themed fiction has been adapted into commercial television series in countries such as China, although state censorship has precluded the series from being explicitly queer.

Indigenous Journalisms

Reckoning ◽  
2020 ◽  
pp. 160-199
Author(s):  
Candis Callison ◽  
Mary Lynn Young
Keyword(s):  
United States ◽  
Indigenous Knowledge ◽  
Digital Media ◽  
The United States ◽  
Ethical Consideration ◽  
Race And Gender ◽  
Mainstream Media ◽  
Ethnographic Fieldwork ◽  
And Gender

Chapter 6 draws on ethnographic fieldwork and interviews with Indigenous journalists in Canada and the United States who have been addressing colonialism, race, and gender in their journalism all along. Indigenous journalists articulate the challenges of working in and among mainstream media that has largely erased and misrepresented Indigenous voices, communities, and concerns on a range of issues. They undertake a differentiated set of approaches that draw on journalism ideals and get at deeper problems structurally such that transformation within journalism as profession, identity, and method might be possible. As a result, Indigenous journalists are using digital media to transform journalism methods, decolonizing journalism ideals like “fairness and balance” by drawing from Indigenous knowledge, histories, and relational frameworks. This chapter provides a bookend to Chapter 1 by offering a pathway into discussing not only new bases for ethical consideration but also provides examples of some of the multiple journalisms available through digital media.

From Ink to Web and Beyond

2017 ◽  
Author(s):  
Heather McKee Hurwitz
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Women Activists ◽  
The United States ◽  
Future Research ◽  
Women's Activism ◽  
Media Activism ◽  
Mainstream Media ◽  
History Of ◽  
Feminist Movements

Mainstream media ignores the breadth and diversity of women’s activism and often features sexist, racist, and sexualized portrayals of women. Also, women hold disproportionately fewer jobs in media industries than men. Despite these challenges, women activists protest gender inequality and advocate a variety of other goals using traditional and new social media. This chapter examines the history of women’s media activism in the United States from women activists’ use of mainstream and alternative newspapers, magazines, radio, and television, to how activists adopted Internet technologies and new digital media strategies starting in the 1990s, to how contemporary feminists protest with Facebook and hashtag activism today. I argue that women activists’ use of new social media may necessitate significant shifts in how we research continuity and diversity in women’s and feminist movements, and how we conceptualize resources, micromobilization, and leadership in social movements broadly. I conclude with several suggestions for future research.

From Start-Up to Scale-Up

2018 ◽  
Author(s):  
Gilles Duruflé ◽  
Thomas Hellmann ◽  
Karen Wilson
Keyword(s):  
United States ◽  
Conceptual Framework ◽  
Public Policies ◽  
Scale Up ◽  
The United States ◽  
Smart Money ◽  
Start Up ◽  
The Us ◽  
The Creation

This chapter examines the challenge for entrepreneurial companies of going beyond the start-up phase and growing into large successful companies. We examine the long-term financing of these so-called scale-up companies, focusing on the United States, Europe, and Canada. The chapter first provides a conceptual framework for understanding the challenges of financing scale-ups. It emphasizes the need for investors with deep pockets, for smart money, for investor networks, and for patient money. It then shows some data about the various aspects of financing scale-ups in the United States, Europe, and Canada, showing how Europe and Canada are lagging behind the US relatively more at the scale-up than the start-up stage. Finally, the chapter raises the question of long-term public policies for supporting the creation of a better scale-up environment.

scholarly journals Facing the Journey Together: Using Digital Media to Support Dementia Care Among Asian Americans

2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 542-542
Author(s):  
Angelica Yeh ◽  
Marie Mayen-Cho
Keyword(s):  
Los Angeles ◽  
Digital Media ◽  
The United States ◽  
Dementia Care ◽  
Pacific Islanders ◽  
Japanese American ◽  
Culturally Appropriate ◽  
Care Partners ◽  
Care Information ◽  
Depth Interviews

Abstract Asians and Pacific Islanders (APIs) in the United States have limited access to dementia care information that is linguistically and culturally appropriate. Alzheimer’s Los Angeles created “Faces of Caregiving”, a video project available with English/Japanese subtitles, documenting in-depth interviews with 7 Japanese/Japanese-American familial care partners of individuals living with dementia. It touched on the personal yet universal aspects of each journey embedded in a particular family context. The 5 video profiles were subsequently shown at 3 community sites to attendees comprised of mostly older-adult APIs. Among 85 attendee responses, approximately 90% stated they were more likely to seek out information on and support for Alzheimer’s disease, felt more open to talking about the disease, and were more likely to advocate and raise awareness for the disease. This program could be replicated for other API communities, allowing individuals to learn more effectively from a peer-to-peer experience in a culturally familiar setting. Part of a symposium sponsored by the Aging Among Asians Interest Group.

scholarly journals “Wars” on COVID-19 in Slovakia, Russia, and the United States: Securitized Framing and Reframing of Political and Media Communication Around the Pandemic

2020 ◽  
Vol 5 ◽  
Author(s):  
Marta N. Lukacovic
Keyword(s):  
United States ◽  
Social Media ◽  
Digital Media ◽  
Political Communication ◽  
Research Question ◽  
The United States ◽  
Frame Element ◽  
Political Factions ◽  
Russian Media ◽  
The Government

This study analyzes securitized discourses and counter narratives that surround the COVID-19 pandemic. Controversial cases of security related political communication, salient media enunciations, and social media reframing are explored through the theoretical lenses of securitization and cascading activation of framing in the contexts of Slovakia, Russia, and the United States. The first research question explores whether and how the frame element of moral evaluation factors into the conversations on the securitization of the pandemic. The analysis tracks the framing process through elite, media, and public levels of communication. The second research question focused on fairly controversial actors— “rogue actors” —such as individuals linked to far-leaning political factions or militias. The proliferation of digital media provides various actors with opportunities to join publicly visible conversations. The analysis demonstrates that the widely differing national contexts offer different trends and degrees in securitization of the pandemic during spring and summer of 2020. The studied rogue actors usually have something to say about the pandemic, and frequently make some reframing attempts based on idiosyncratic evaluations of how normatively appropriate is their government's “war” on COVID-19. In Slovakia, the rogue elite actors at first failed to have an impact but eventually managed to partially contest the dominant frame. Powerful Russian media influencers enjoy some conspiracy theories but prudently avoid direct challenges to the government's frame, and so far only marginal rogue actors openly advance dissenting frames. The polarized political and media environment in the US has shown to create a particularly fertile ground for rogue grassroots movements that utilize online platforms and social media, at times going as far as encouragement of violent acts to oppose the government and its pandemic response policy.

Legalization in context: The design of the WTO’s dispute settlement system

2017 ◽  
Vol 19 (2) ◽  
pp. 304-319 ◽  
Author(s):  
Manfred Elsig
Keyword(s):  
Rational Design ◽  
Dispute Settlement ◽  
The United States ◽  
Settlement System ◽  
Trading System ◽  
Wto Dispute Settlement ◽  
Multilateral Trading System ◽  
The Creation ◽  
Dispute Settlement System

This article asks why the dispute settlement provisions of the multilateral trading system underwent significant reforms during the negotiations that led to the creation of the World Trade Organization (WTO) in 1995. Why did the leading trading powers accept a highly legalized system that departed from established political–diplomatic forms of settling disputes? The contribution of this article is threefold. First, it complements existing accounts that exclusively focus on the United States with a novel explanation that takes account of contextual factors. Second, it offers an in-depth empirical case study based on interviews with negotiators who were involved and novel archival evidence on the creation of the new WTO dispute settlement system. Third, by unpacking the long-standing puzzle of why states designed a highly legalized system, it addresses selected blind spots of the legalization and the rational design literatures with the aim of providing a better understanding about potential paths leading toward significant changes in legalization.

Using media to promote artisan food and beverages: insights from the television industry

2016 ◽  
Vol 118 (3) ◽  
pp. 588-602 ◽  
Author(s):  
Michelle Phillipov
Keyword(s):  
Media Production ◽  
Structured Interviews ◽  
Television Industry ◽  
Content Type ◽  
Mainstream Media ◽  
Food And Beverage ◽  
Cooking Shows ◽  
The Subject ◽  
Food Media ◽  
Practical Implications

Purpose – The increasing frequency with which food and beverage producers feature in mainstream media, including television cooking shows, provide opportunities and pitfalls for using media to promote artisan food and beverage businesses. The purpose of this paper is to evaluate these, as experienced by a group of food and beverage producers who appeared on the popular Australian television show, Gourmet Farmer. Design/methodology/approach – Findings are based on semi-structured interviews with 14 of the producers featured on the show, plus textual analysis of relevant segments of the show. Findings – While all of the producers felt that food television offered a good promotional tool, those who were most familiar with the practices of media production and whose businesses offered experiences through which viewers could access (or imagine) a “taste” of the Gourmet Farmer life tended to be more satisfied than those who were less familiar with the practices of media production and who expected a greater focus on their products and production practices. Practical implications – The development of media skills is essential for artisan producers to get the best outcomes when using media to promote their businesses. Originality/value – The experiences of food and beverage producers using food television to promote their businesses have not previously been the subject of thoroughgoing research. This paper offers new insights into how artisan producers can best capitalize on the opportunities offered by food media.

‘Art as Vehicle’: Grotowski in Pontedera

2009 ◽  
Vol 25 (4) ◽  
pp. 333-335
Author(s):  
Carla Pollastrelli
Keyword(s):  
United States ◽  
The United States ◽  
The Creation ◽  
Jerzy Grotowski

In this testimony, Carla Pollastrelli charts the main stages leading to Grotowski's settlement in Pontedera in Italy and to the creation of the Workcenter of Jerzy Grotowski. As the Year of Grotowski, supported by UNESCO, draws to a close, her words provide a fitting tribute to a man whose influence has surpassed all geographical boundaries, whether those of his native Poland, adoptive Italy, or place of temporary refuge, the United States. Carla Pollastrelli is the co-director of the Fondazione Pontedera Teatro. Pontedera Teatro. From 1986 to 2000 she was an executive of the Workcenter of Jerzy Grotowski, which in 1996 was renamed the Workcenter of Jerzy Grotowski and Thomas Richards. She has edited translations of Grotowski's texts in Polish into Italian since 1978, and is the co-editor with Ludwig Flaszen of Il Teatr Laboratorium di Jerzy Grotowski, 1959–1969: testi e materiali di Jerzy Grotowski e Ludwik Flaszen con uno scritto di Eugenio Barba (Jerzy Grotowski's Laboratory Theatre, 1959–1969: Jerzy Grotowski and Ludwig Flaszen's Texts and Materials and a Text by Eugenio Barba (Fondazione Pontedera Teatro, 2001; second edition, La Casa Usher, 2007) and the collection of Grotowski's texts, Holiday e teatro delle fonti (Holiday and the Theatre of Sources, La Casa Usher, 2006).

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