scholarly journals The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s The Oak (1992)

2016 ◽  
Vol 12 (1) ◽  
pp. 45-66
Author(s):  
Katalin Sándor
Keyword(s):  
Art History ◽  
Historical Context ◽  
Cultural Mediation ◽  
The Real ◽  
After Effects ◽  
Cross Media ◽  
Fictional Narrative ◽  
The Social ◽  
Polaroid Camera ◽  
The Media

Abstract The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, The Oak. Through a fictional narrative, the film reflects on the communist period from the historical context of the post-1989 transition strongly marked by the after-effects of dictatorship and by political, social and economic instability. By incorporating a diegetic Polaroid camera and a home movie, The Oak displays a reflexive preoccupation with the mediality and the socio-cultural constructedness of the image. The figurative, allegorizing tendency of the film – manifest in the subversive recontextualization of grand narratives, iconographic codes or images of art history – also foregrounds the question of cultural mediation. I argue that by displaying the non-transparency of the cinematic image and the cultural mediatedness of the “real,” the media-reflexive and allegorical-figurative discourse of the film can be regarded as a critical historical response to the social and representational crises linked to the communist era, but at the same time it may be symptomatic of the social, cultural, political anxieties of post-1989 transition.1

scholarly journals Historicizing media, globalizing media research: infrastructures, publics, and everyday life

2019 ◽  
Vol 14 (3) ◽  
pp. 437-453 ◽  
Author(s):  
Ralph Schroeder
Keyword(s):  
New Media ◽  
Everyday Life ◽  
Historical Context ◽  
The Internet ◽  
Late Nineteenth Century ◽  
Media Technologies ◽  
The Social ◽  
The Media ◽  
Media Research ◽  
The Cold War

AbstractVisions of media spanning the globe and connecting cultures have been around at least since the birth of telegraphy, yet they have always fallen short of realities. Nevertheless, with the internet, a global infrastructure has emerged, which, together with mobile and smartphones, has rapidly changed the media landscape. This far-reaching digital connectedness makes it increasingly clear that the main implications of media lie in the extent to which they reach into everyday life. This article puts this reach into historical context, arguing that, in the pre-modern period, geographically extensive media networks only extended to a small elite. With the modern print revolution, media reach became both more extensive and more intensive. Yet it was only in the late nineteenth century that media infrastructures penetrated more widely into everyday life. Apart from a comparative historical perspective, several social science disciplines can be brought to bear in order to understand the ever more globalizing reach of media infrastructures into everyday life, including its limits. To date, the vast bulk of media research is still concentrated on North America and Europe. Recently, however, media research has begun to track broader theoretical debates in the social sciences, and imported debates about globalization from anthropology, sociology, political science, and international relations. These globalizing processes of the media research agenda have been shaped by both political developments and changes in media, including the Cold War, decolonization, the development of the internet and other new media technologies, and the rise of populist leaders.

From the realism to the Real. The „suicidal gesture” in the photography Self Portrait as a Drowned Man by Hippolyte Bayard and in the painting The Wounded Man by Gustave Courbet

Tekstualia ◽  
2017 ◽  
Vol 2 (49) ◽  
pp. 65-78
Author(s):  
Justyna Pyra
Keyword(s):  
Art History ◽  
Social Position ◽  
The Real ◽  
Works Of Art ◽  
The Social ◽  
Gustave Courbet ◽  
The World ◽  
The Status ◽  
The Subject ◽  
Death Of The Author

The article begins with an analysis of two works of art: the photography Self Portrait as a Drowned Man by Hippolyte Bayard (1839–1840), which is one of the fi rst photographs in history, and the painting The Wounded Man by Gustave Courbet (1845–1854). Both these images use the same iconographic theme: the death of the author. This comparison leads to a refl ection about the intersections of photography and death, in an artistic as well as an anthropological sense. The similarity of the subject of both the works, and their rootedness in the time of creation, induce a variety of questions: what was the status of photography shortly after the invention of this medium? How did it affect the notion of art, the social position of the artist, the comprehension of realism, and fi nally – the perception of the world itself? The article tries to answer some of these questions by bringing out the picture of a specifi c moment in (art) history, when both man’s interest in death and the realist’s aspiration to create mimetic representations have found a new refl ection in art thanks to photography.

Spatial practices and narratives

2014 ◽  
Vol 13 (4) ◽  
pp. 732-754 ◽  
Author(s):  
Óscar García Agustín ◽  
Félix J. Aguirre Díaz
Keyword(s):  
New Media ◽  
Public Space ◽  
Historical Context ◽  
Spatial Practices ◽  
The Public ◽  
Media Technologies ◽  
Fictional Narrative ◽  
Santiago De Chile ◽  
The Social ◽  
Global Movement

The Chilean students’ rebellion emerged in 2011 within the wave of global protests. Even though it is an organized movement, with roots in a specific historical context, it shares with the global movement the use of new media technologies, the appropriation of public spaces, and the concern for democracy and equality. The movement deploys flexible forms of organization and mobilization such as flash mobs, in the case analyzed in this article, the GenkiDama for Education. The students create a narrative based on the famous Manga series Dragon Ball Z to reframe the conflict between students and government. As Manga fans, they open up participation to other less politically defined identities. The flash mob moment works as a communicative event in which the narrative is put into place and strengthens a sense of community in the streets of Santiago de Chile. To analyze the connections between the fictional narrative of Manga and the use of the public space, we draw on Michel de Certeau’s theory on spatial practices and the function of stories and place/space. Spatial practices during the flash mob challenge the social and spatial order in order to represent a symbolic victory of the students over the political system.

Portraits, Power, and Patronage in the Late Roman Republic

2000 ◽  
Vol 90 ◽  
pp. 18-50 ◽  
Author(s):  
Jeremy Tanner
Keyword(s):  
Recent Work ◽  
Art History ◽  
Historical Context ◽  
Political Context ◽  
Power Relationships ◽  
Social Functions ◽  
Works Of Art ◽  
The Social ◽  
Social Product ◽  
Clear Conception

Recent work in ancient art history has sought to move beyond formalist interpretations of works of art to a concern to understand ancient images in terms of a broader cultural, political, and historical context. In the study of late Republican portraiture, traditional explanations of the origins of verism in terms of antecedent influences — Hellenistic realism, Egyptian realism, ancestral imagines — have been replaced by a concern to interpret portraits as signs functioning in a determinate historical and political context which serves to explain their particular visual patterning. In this paper I argue that, whilst these new perspectives have considerably enhanced our understanding of the forms and meanings of late Republican portraits, they are still flawed by a failure to establish a clear conception of the social functions of art. I develop an account of portraits which shifts the interpretative emphasis from art as object to art as a medium of socio-cultural action. Such a shift in analytic perspective places art firmly at the centre of our understanding of ancient societies, by snowing that art is not merely a social product or a symbol of power relationships, but also serves to construct relationships of power and solidarity in a way in which other cultural forms cannot, and thereby transforms those relationships with determinate consequences.

scholarly journals Violence Prevention and the Canadian Girl Child

2010 ◽  
Vol 1 (2) ◽  
pp. 134 ◽  
Author(s):  
Yasmin Jiwani ◽  
Helene Berman ◽  
Ann Cameron
Keyword(s):  
Service Providers ◽  
Historical Context ◽  
Future Research ◽  
Girl Child ◽  
Policy Makers ◽  
The Social ◽  
The Media ◽  
Detailed List ◽  
Gender Based ◽  
Systemic Violence

<p class="MsoNormal" style="margin: 0in 0in 0pt 28.35pt;"><span lang="EN-US"><span style="font-size: small;"><span style="font-family: Times New Roman;">The authors argue that because there are no groups of girls or young women that can be considered immune from gender-based or systemic violence, there is a significant need for the inclusion and recognition of the girl child in official policies, programs, and legislation. In their view, a fundamental recognition of the specificities of the gendered nature of violence, particularly as it intersects with age, race, class, ability, and sexual orientation is required. Moreover, the antecedent roots of violence need to be identified, as they provide sites for effective and early intervention. They discuss the social and historical context of the girl child in Canada and follow this analysis with a presentation of the research carried out by the Alliance of Five Research Centres on Violence and its consequent implications for policy and programming. Finally, the authors append a detailed list of concrete recommendations for policy-makers at all levels of government, as well as for service providers and the media, covering such areas as education, service delivery, and future research.</span></span></span></p>

scholarly journals Media representations of the prison

Sociologija ◽  
2018 ◽  
Vol 60 (4) ◽  
pp. 769-785
Author(s):  
Aleksandar Jugovic ◽  
Dragica Bogetic
Keyword(s):  
Content Analysis ◽  
Social Constructivism ◽  
Theoretical Orientation ◽  
Historical Context ◽  
Media Representations ◽  
Total Institution ◽  
Sexual Assaults ◽  
Country Club ◽  
The Social ◽  
The Media

The objective of the paper is to scientifically analyze the media?s portrayal of the prison in the social, cultural and historical context. The method used is content analysis. The paper is based on the pluralistic theoretical orientation of the author grounded in the theory of social constructivism. The prison is most commonly depicted as a place occupied by violent and ?sinful? persons where their vicious behaviour continues, sending a message of the prison as an unparalleled and crucial means of social control of individuals not conformed to the norms of society. Media representations of the prison as a total institution range between two typical simplifying images: one, where this total institution (the ?smug hack? model) is shown as a system that is corrupted, dehumanized and incapable of conducting resocialization and where prisoners are subjected to sexual assaults, physical torture and discrimination by staff or other prisoners; other, or stereotype about ?spoiled prisoners? (the ?country club corrections? model) and prisons as places filled with undeserved privileges for criminals - pleasant work, conjugal visits, love rooms, free time filled with hedonism and fun. Typical representations of the prison as a total institution include it representing a place of social revenge, punishment for serious crimes, violence, loss of freedom, systemic torture, identity destruction, repentance, strengthening of criminal habits and convictions (?education for crime?) and corruption.

Murder with Impunity: The Construction of Arab Masculinities and Honor Crimes

1970 ◽  
pp. 38-45
Author(s):  
May Abu Jaber
Keyword(s):  
Violence Against Women ◽  
Social Boundaries ◽  
Religious Institutions ◽  
The Social ◽  
The Family ◽  
The Media ◽  
The One ◽  
Male Authority ◽  
Cultural Networks ◽  
Gender Specific

Violence against women (VAW) continues to exist as a pervasive, structural,systematic, and institutionalized violation of women’s basic human rights (UNDivision of Advancement for Women, 2006). It cuts across the boundaries of age, race, class, education, and religion which affect women of all ages and all backgrounds in every corner of the world. Such violence is used to control and subjugate women by instilling a sense of insecurity that keeps them “bound to the home, economically exploited and socially suppressed” (Mathu, 2008, p. 65). It is estimated that one out of every five women worldwide will be abused during her lifetime with rates reaching up to 70 percent in some countries (WHO, 2005). Whether this abuse is perpetrated by the state and its agents, by family members, or even by strangers, VAW is closely related to the regulation of sexuality in a gender specific (patriarchal) manner. This regulation is, on the one hand, maintained through the implementation of strict cultural, communal, and religious norms, and on the other hand, through particular legal measures that sustain these norms. Therefore, religious institutions, the media, the family/tribe, cultural networks, and the legal system continually disciplinewomen’s sexuality and punish those women (and in some instances men) who have transgressed or allegedly contravened the social boundaries of ‘appropriateness’ as delineated by each society. Such women/men may include lesbians/gays, women who appear ‘too masculine’ or men who appear ‘too feminine,’ women who try to exercise their rights freely or men who do not assert their rights as ‘real men’ should, women/men who have been sexually assaulted or raped, and women/men who challenge male/older male authority.

Race and the Epigenetics of Memory

2018 ◽  
Vol 5 (1) ◽  
Author(s):  
Gabriela Soto Laveaga
Keyword(s):  
Social Construction ◽  
Dna Analysis ◽  
Historical Context ◽  
Neural Function ◽  
Social Constructions ◽  
Race Science ◽  
The Social ◽  
Black Bodies ◽  
Dead Bodies ◽  
Lasting Change

In my brief response to Terence Keel’s essay “Race on Both Sides of the Razor,” I focus on something as pertinent as alleles and social construction: how we write history and how we memorialize the past. Current DNA analysis promises to remap our past and interrogate certainties that we have taken for granted. For the purposes of this commentary I call this displacing of known histories the epigenetics of memory. Just as environmental stimuli rouse epigenetic mechanisms to produce lasting change in behavior and neural function, the unearthing of forgotten bodies, forgotten lives, has a measurable effect on how we act and think and what we believe. The act of writing history, memorializing the lives of others, is a stimulus that reshapes who and what we are. We cannot disentangle the discussion about the social construction of race and biological determinism from the ways in which we have written—and must write going forward—about race. To the debate about social construction and biological variation we must add the heft of historical context, which allows us to place these two ideas in dialogue with each other. Consequently, before addressing the themes in Keel’s provocative opening essay and John Hartigan’s response, I speak about dead bodies—specifically, cemeteries for Black bodies. Three examples—one each from Atlanta, Georgia; Rio de Janeiro, Brazil; and Mexico—illustrate how dead bodies must enter our current debates about race, science, and social constructions. 

Disruptive Fixation

2017 ◽  
Author(s):  
Christo Sims
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
Media Technologies ◽  
Complex Processes ◽  
Middle Schoolers ◽  
The Social ◽  
The Media ◽  
Class Divisions ◽  
Conventional Type

In New York City in 2009, a new kind of public school opened its doors to its inaugural class of middle schoolers. Conceived by a team of game designers and progressive educational reformers and backed by prominent philanthropic foundations, it promised to reinvent the classroom for the digital age. This book documents the life of the school from its planning stages to the graduation of its first eighth-grade class. It is the account of how this “school for digital kids,” heralded as a model of tech-driven educational reform, reverted to a more conventional type of schooling with rote learning, an emphasis on discipline, and traditional hierarchies of authority. Troubling gender and racialized class divisions also emerged. The book shows how the philanthropic possibilities of new media technologies are repeatedly idealized even though actual interventions routinely fall short of the desired outcomes. It traces the complex processes by which idealistic tech-reform perennially takes root, unsettles the worlds into which it intervenes, and eventually stabilizes in ways that remake and extend many of the social predicaments reformers hope to fix. It offers a nuanced look at the roles that powerful elites, experts, the media, and the intended beneficiaries of reform—in this case, the students and their parents—play in perpetuating the cycle. The book offers a timely examination of techno-philanthropism and the yearnings and dilemmas it seeks to address, revealing what failed interventions do manage to accomplish—and for whom.

The effectiveness of Social Media Instagram as a Promotion of Agricultural product of fruits. (case :Instagram TaniHub Indonesia, Pasar Minggu, Jakarta Selatan)

2020 ◽  
Vol 4 (6) ◽  
pp. 866
Author(s):  
Nensy Yohana Natalia Pasaribu
Keyword(s):  
Social Media ◽  
Media Exposure ◽  
Agricultural Product ◽  
Marketing Activity ◽  
Feedback Message ◽  
The Social ◽  
The Media

Agriculture produces processed product which is perishable, so that the agricultural product should be distributed immediately. Processed product can be promoted to attract consumers to buy the product. One of the media that can be used to promote processed agricultural product is social media. Social media is needed to ease the marketing activity on the product. Social media is viral and can be delivered directly and personally to the consumer. Indicators are used to know the effectiveness of the social media as promotion media with AIDA concept. The results showed that promotion through Instagram has not been effective in the stages of attention (attention), interest (interest), desire (desire), and action (action). This study also explains that there is a relationship between the characteristics of gender followers and the level of social media exposure to the frequency of messages. In addition, there is also a relationship between the frequency of message feedback, message attractiveness, and intelligence in delivering messages with the interest stage. 

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