The media construction of family history: An analysis of “Who do you think you are?”

2017 ◽  
Vol 42 (3) ◽  
Author(s):  
Peter Lunt

AbstractGenealogy, once a specialized research practice, is increasingly a common social practice enabled by digitization and cultural intermediaries that support the construction of family histories. The idea of finding out about oneself through an exploration of the character and lives of ancestors is a growing social practice reflected in popular culture. Tracing one’s personal traits through past family members and extending the sense of family and identity back in time potentially enriches personal identity and link personal, social and cultural memory. In this paper, an episode of the popular BBC TV program

Author(s):  
Anna Sumskaya ◽  
Pavel Sumskoy

The “Russian threat”, popularized by many foreign media sources, actualized a request to continue the study of the national-civic identity of Russians. The study is based on the communicative behavior of subjects in the media and in the collective cultural memory. The article is dedicated to the detection of the repertoire of identifications, the construction of the discursive identity of Russians by the subjects of communication in the English-language media space. The identification was carried out in the course of the analysis of speech statements, the subjective positions of the communicators, reflecting the formed collective communicative and cultural memory. On the basis of the structural-semiotic approach, the concept of cultural memory by J. and A. Assmann and the Russian cultural model built by M. Bergelson, English-language texts about Russia and Russians were analyzed. The system of text-generating practices and codes of journalistic discourse formed by E.V. Chepkina, the network principle of organization of discursive identity introduced by L.V. Enina, the concept of plotting by V.Ya. Propp and the types of K. Booker's stories were used to detect the identities of Russians in journalistic discourse. Basing their research on the analysis of 22 journalistic stories, the authors come to the following conclusion: domestic and foreign authors use similar facts in their stories about Russians, but in the end they formulate opposite positions and construct different meanings. What is recognized as “a norm” by Russian communicators, causes confusion among foreign authors. This is a reflection of the previously assigned communicative behavior during the Cold War era, low-contextual cultural traditions and the national cultural memory of foreign actors. Most likely, this distinction is now used by political communicators to support intentionally organized “information confrontations”. Foreign journalists admit that one-dimensional “formalized patterns” are not applicable to understanding the identity of Russians. In the analyzed texts, the authors, first of all, translate or search for a “Soviet” and “traditional” cultural model (according to M. Bergelson). Perhaps, this is important for the implementation of the “adjustment” of Russians in the current geopolitical situation, and, moreover, it helps to broadcast what has proved to be a successful “defensive position” for centuries. At the same time, both domestic and foreign journalists identify the character of a Russian as of a “Hero” in the process of “Searching and finding a goal”.


Język Polski ◽  
2020 ◽  
Vol 100 (3) ◽  
pp. 100-112
Author(s):  
Jakub Bobrowski

The article explores the semantic and pragmatic evolution of the lexical unit "badylarz" (‘vegetable gardener’). The author challenges the generally accepted opinions about its history, making use of data from dictionaries, digital libraries and corpora of the Polish language. It is commonly believed that the word came into existence during the PRL era and belonged to the typical elements of the discourse of communist propaganda. An analysis of the collected data showed that the word "badylarz" existed as far back as the second half of the 19th century. Originally, it was a neutral lexeme, but in the interwar period it became one of the offensive names of class enemies, often used in left-wing newspapers. After the war, negative connotations of the word were disseminated through literature and popular culture. Nowadays, "badylarz" functions as the lexical exponent of cultural memory of communist times.


2021 ◽  
pp. 1329878X2098596
Author(s):  
Anna Cristina Pertierra

Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.


2008 ◽  
Vol 7 (1) ◽  
pp. 53-70 ◽  
Author(s):  
Mohammad Amouzadeh

This paper aims to investigate the language used by newspapers in post-revolutionary Iran. More precisely, the paper sets out to analyze how such a language is deployed to represent relevant hegemonic ideologies. The approach adopted for this purpose draws inspiration mainly from critical linguistics, where it is hypothesized that, as far as the pertinent metadiscourse goes, media genres serve to activate and perpetuate social power relations. In keeping with this theoretical stance, the paper argues that socially constructed texts can be said to perform two complementary functions; on the one hand, they shed light on the realities experienced in social life; on the other, they reveal such aspects of those realities as are constructed through the use of language. It is thus in this context that the media language used in the post-revolutionary Iran lends itself to analytical investigation, where the available data reveal the co-existence of three competing discourse processes of ‘Islamization’, ‘Iranian Nationalism’ and ‘Western liberalism’, relating to the third stage development of post-revolutionary Iran.


Author(s):  
Charlotte Barlow

This chapter discusses the media construction of women co-offenders and their relationship with their male partner/ co-offender, using the case/ court file material as a comparative tool. It particularly considers the ways in which the women’s representation served to minimise and discredit their perspectives and defence, particularly in relation to the potential influence of their relationship with their male partner on their offending behaviour. It also considers the ways in which the women’s suggestions of coercion or coercive techniques (at varying levels) by their male partner were constructed, particularly in media discourse. In doing so, the chapter is divided into a number of key themes, such as ‘bad women’ and ‘equally bad or worse’. It is important to note that the themes apply to the women at varying levels and the extent to which they were evident in the women’s legal and media representation will be discussed.


Author(s):  
Berber Hagedoorn

In this article, television is reconsidered as a hybrid ‘repertoire’ ofmemory. It is demonstrated how new dynamic production and scheduling practicesin connection with highly accessible and participatory forms of user engagementoffer opportunities for television users to engage with the past, and how suchpractices affect television as a practice of memory. The media platform HollandDoc is discussed as a principal casestudy. By adopting and expanding Aleida Assmann’s model of the dynamics ofcultural memory between remembering and forgetting, a new model to studytelevision as cultural memory is proposed which represents the medium’shybridity in the multi-platform era.


Author(s):  
D. V. Ivanchuk

The article is devoted to the study of the problem of alienation of peasants from the land in the period from the mid-1960s to mid-1980s in the context of the agrarian policy carried out during these years. The analysis of the complex nature of this problem is given on the basis of the extensive material of journalistic works by “village prose” writers, on the basis of archival and other historical sources. The author identifies and studies reasons for the alienation of the peasantry from the land in those years, such as: further stateization, centralization and concentration of agricultural production; its centralized planning; introduction of guaranteed wages; negative impact from the media and popular culture; rural inferiority complex; lack of brides in the countryside; the policy of eliminating unpromising villages.


2020 ◽  
Vol 9 (2) ◽  
pp. 179-193
Author(s):  
Ruth Barratt-Peacock ◽  
Sophia Staite

Using the music of the Final Fantasy game series as our case study, we follow the music through processes of transmediation in two very different contexts: the Netflix series Dad of Light and music transcription forum Ichigo’s Sheet Music. We argue that these examples reveal transmediation acting as a process of ‘emptying’, allowing the music to carry its nostalgic cargo of affect into new relationships and contexts. This study’s theoretical combination of transmediation with Bainbridge’s object networks of social practice frame challenges normative definitions of nostalgia. The phenomenon of ‘emptying’ we identify reveals a function of popular culture nostalgia that differs from the dominant understanding as a triggering of generalized emotional longing for (or the desire to return to) the past. Instead, this article uncovers a nostalgia that is defined by personal and communal creative engagement and highlights the active and social nature of transmediated popular culture nostalgia.


Author(s):  
Pete Ward

This chapter presents a study of celebrity worship in an attempt to clarify how popular culture can be like religion, although both remain categorically different. Most approaches to religion involve at least one of the following ideas: a belief in a supernatural power, the significance of religion to generate community life or some kind of church, or a divine power's influence on people's lives. Celebrity culture in almost all of these respects falls significantly short of what is required of a formal religion. Yet rather than dismissing celebrity worship as not religiously significant, it might be possible to cast new light on how, through the action of the media, and through the agency of audiences and fans, something like (and not like) religion is starting to emerge. The term for this is “parareligion.” Parareligion is based on the premise that celebrity worship is not a religion but has religious parallels. Parareligion suggests that religious elements are present but that they are presented ambiguously. These religious elements are often contradictory and open to a variety of different understandings.


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