Hot and Cool Mothers

differences ◽  
2021 ◽  
Vol 32 (3) ◽  
pp. 53-84
Author(s):  
Hannah Zeavin
Keyword(s):  
Digital Media ◽  
Emotionally Disturbed ◽  
Media Theory ◽  
Parental Fitness ◽  
Maternal Function ◽  
Helicopter Parent ◽  
The 1960S ◽  
Psychological Studies

“Hot and Cool Mothers” moves toward a media theory of mothering and parental “fitness.” The article begins with an investigation into midcentury pediatric psychological studies on Bad Mothers and their impacts on their children. The most famous, if not persistent, of these diagnoses is that of the so-called refrigerator mother. The refrigerator mother is not the only bad model of maternality that midcentury psychiatry discovered, however; overstimulating mothers, called in this study “hot mothers,” were identified as equally problematic. From the mid-1940s until the 1960s and beyond, class, race, and maternal function were linked in metaphors of temperature. Whereas autism and autistic states have been extensively elaborated in their relationship to digital media, this article attends to attributed maternal causes of “emotionally disturbed,” queer, and neurodivergent children. The author argues that these newly codified diagnoses were inseparable from midcentury conceptions of stimulation, mediation, domesticity, and race, including Marshall McLuhan’s theory of hot and cool media, as well as maternal absence and (over)presence, echoes of which continue in the present in terms like “helicopter parent.”

scholarly journals Enacting Media. An Embodied Account of Enculturation Between Neuromediality and New Cognitive Media Theory

2021 ◽  
Vol 12 ◽  
Author(s):  
Joerg Fingerhut
Keyword(s):  
Digital Media ◽  
Human Mind ◽  
Generative Models ◽  
Media Theory ◽  
Media Ecology ◽  
Predictive Processing ◽  
Moving Images ◽  
The World ◽  
Media Work ◽  
The Mind

This paper argues that the still-emerging paradigm of situated cognition requires a more systematic perspective on media to capture the enculturation of the human mind. By virtue of being media, cultural artifacts present central experiential models of the world for our embodied minds to latch onto. The paper identifies references to external media within embodied, extended, enactive, and predictive approaches to cognition, which remain underdeveloped in terms of the profound impact that media have on our mind. To grasp this impact, I propose an enactive account of media that is based on expansive habits as media-structured, embodied ways of bringing forth meaning and new domains of values. We apply such habits, for instance, when seeing a picture or perceiving a movie. They become established through a process of reciprocal adaptation between media artifacts and organisms and define the range of viable actions within such a media ecology. Within an artifactual habit, we then become attuned to a specific media work (e.g., a TV series, a picture, a text, or even a city) that engages us. Both the plurality of habits and the dynamical adjustments within a habit require a more flexible neural architecture than is addressed by classical cognitive neuroscience. To detail how neural and media processes interlock, I will introduce the concept of neuromediality and discuss radical predictive processing accounts that could contribute to the externalization of the mind by treating media themselves as generative models of the world. After a short primer on general media theory, I discuss media examples in three domains: pictures and moving images; digital media; architecture and the built environment. This discussion demonstrates the need for a new cognitive media theory based on enactive artifactual habits—one that will help us gain perspective on the continuous re-mediation of our mind.

scholarly journals Colonial media ecologies

2020 ◽  
Vol 8 (2) ◽  
pp. 98-112
Author(s):  
Lene Asp Frederiksen
Keyword(s):  
Great Britain ◽  
Digital Media ◽  
West Indies ◽  
Mixed Media ◽  
Field Trip ◽  
Gold Coast ◽  
Parallel Movement ◽  
Audio Recordings ◽  
Danish West Indies ◽  
The 1960S

In this mixed-media essay I document a field trip to Ghana where I, so to say, travel in the footsteps of the Danish colonizers to the Gold Coast in a bid to dialogically challenge the genre of the monologizing colonial traveloguei. My methodological retracing of the slave route is inspired by Danish author Thorkild Hansen’s book trilogy Coast of Slaves, Ships of Slaves and Islands of Slaves from the 1960s in which he visits the former Danish West Indies and the Gold Coast (in the, at the time of his visit, still very young Ghanaian nation, which had gained its independence from Great Britain in 1957). Hansen was one of the first Danish authors to voice a strong critique of the Danish colonial past and of a neglectful historiography through his docu-fiction. I was curious to explore in a parallel movement to Hansen’s the landscape as prism and archive today. Hence, the ‘reenactment’ of the travelogue in this essay functions as an attempt to recast and refracture colonial  narratives of past and present. My own documentary audio recordings from the field trip are presented here along with methodological reflections on how to voice dialogical narratives about colonialism in new digital media.

Romanian Cinema

2015 ◽  
Author(s):  
Constantin Parvulescu
Keyword(s):  
English Language ◽  
Turning Point ◽  
Media Theory ◽  
New Wave ◽  
National Cinema ◽  
International Visibility ◽  
Academic Scholarship ◽  
The 1960S ◽  
Romanian Cinema ◽  
International Representation

Until the second decade of the 21st century, scholarship on Romanian film has been written almost exclusively in Romanian. Its pioneering representatives were D. I. Suchianu and Ion Cantacuzino, who published their first books in the 1930s. Since Romania had not generated consistent cinematic output until the 1950s, its historical studies came out also late, in the 1960s. The year 1989 was another turning point in Romanian film historiography, spurring post-socialist reconsiderations, and so was 1996, when the celebration of one hundred years of Romanian cinema triggered the publication of several historical studies. Consistent international representation started in the late 2000s, prompted by the international visibility of the New Romanian Cinema (also known as the Romanian New Wave). Since then, English-language film magazines delivered reviews of every new Romanian production, and academic scholarship started to yield its first articles. Soon, interest in Romanian film traditions also surged (both in Romania and abroad), coupled with a concentrated effort of the Romanian state to promote its cinema, both new and old. Romanian film is still approached mainly in the framework of national cinema, but recent studies tend to broaden the perspective and employ comparative, transnational, intermedial, and media-theory perspectives.

The Personalization of Politics

2012 ◽  
Vol 644 (1) ◽  
pp. 20-39 ◽  
Author(s):  
W. Lance Bennett
Keyword(s):  
Collective Action ◽  
Digital Media ◽  
Identity Politics ◽  
Large Scale ◽  
Media Technologies ◽  
Transnational Organizations ◽  
Development Policies ◽  
Personal Action ◽  
The 1960S ◽  
Personalization Of Politics

This article proposes a framework for understanding large-scale individualized collective action that is often coordinated through digital media technologies. Social fragmentation and the decline of group loyalties have given rise to an era of personalized politics in which individually expressive personal action frames displace collective action frames in many protest causes. This trend can be spotted in the rise of large-scale, rapidly forming political participation aimed at a variety of targets, ranging from parties and candidates, to corporations, brands, and transnational organizations. The group-based “identity politics” of the “new social movements” that arose after the 1960s still exist, but the recent period has seen more diverse mobilizations in which individuals are mobilized around personal lifestyle values to engage with multiple causes such as economic justice (fair trade, inequality, and development policies), environmental protection, and worker and human rights.

Methods for Assessing Visual Images and Depictions of Climate Change

2017 ◽  
Author(s):  
Anders Hansen
Keyword(s):  
Climate Change ◽  
Digital Media ◽  
Visual Communication ◽  
Environmental Communication ◽  
Public Debate ◽  
Cultural Construction ◽  
Communication Research ◽  
Climate Change Research ◽  
The Public Sphere ◽  
The 1960S

Visual representation has been important in communicating and constructing the environment as a focus for public and political concern since the rise of environmentalism in the 1960s. As communications media have themselves become increasingly visual with the rise of digital media, so too has visual communication become key to public debate about environmental issues, no more so than in public debate and the politics of climate change. This chapter surveys the methods, approaches, and frameworks deployed in emerging research on public-mediated visual communication about climate change. Research on the visual mediation of climate change is itself part of the emerging field of visual environmental communication research, defined as research concerned with theorizing and empirically examining how visual imagery contributes to the increasingly multimodal public communication of the environment. Focused on a sociological understanding of the contribution that visuals make to the social, political, and cultural construction of “the environment,” visual environmental communication research analytically requires a multimodal approach, which situates analysis of the semiotic, discursive, rhetorical, and narrative characteristics of visuals in relation to the communicative, cultural, and historical contexts and in relation to the three main sites—production, content, and audiences/consumption—of communication in the public sphere.

Youth and Media Culture

2018 ◽  
Author(s):  
Stuart R. Poyntz ◽  
Jennesia Pedri
Keyword(s):  
Young People ◽  
Digital Media ◽  
User Participation ◽  
Sesame Street ◽  
Media Culture ◽  
Media Education ◽  
Media Technologies ◽  
Critical Media ◽  
Youth Media ◽  
The 1960S

Media in the 21st century are changing when, where, what, and how young people learn. Some educators, youth researchers, and parents lament this reality; but youth, media culture, and learning nevertheless remain entangled in a rich set of relationships today. These relationships and the anxieties they produce are not new; they echo worries about the consequences of young people’s media attachments that have been around for decades. These anxieties first appeared in response to the fear that violence, vulgarity, and sexual desire in early popular culture was thought to pose to culture. Others, however, believed that media could be repurposed to have a broader educational impact. This sentiment crept into educational discourses throughout the 1960s in a way that would shift thinking about youth, media culture, and education. For example, it shaped the development of television shows such as Sesame Street as a kind of learning portal. In addition to the idea that youth can learn from the media, educators and activists have also turned to media education as a more direct intervention. Media education addresses how various media operate in and through particular institutions, technologies, texts, and audiences in an effort to affect how young people learn and engage with media culture. These developments have been enhanced by a growing interest in a broad project of literacy. By the 1990s and 2000s, media production became a common feature in media education practices because it was thought to enable young people to learn by doing, rather than just by analyzing or reading texts. This was enabled by the emergence of new digital media technologies that prioritize user participation. As we have come to read and write media differently in a digital era, however, a new set of problems have arisen that affect how media cultures are understood in relation to learning. Among these issues is how a participatory turn in media culture allows others, including corporations, governments, and predatory individuals, to monitor, survey, coordinate, and guide our activities as never before. Critical media literacy education addresses this context and continues to provide a framework to address the future of youth, media culture and learning.

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