scholarly journals 'Positive' images?: a critical examination of queer visibility in contemporary popular culture.

2021 ◽  
Author(s):  
Kate Zieman

"The past five decades have seen a marked increase in attention to, and representations of, queer people in mainstream popular culture. Within the last ten years, several films and television programs featuring gay men and lesbians have garnered critical acclaim and high ratings among diverse audiences and myriad companies have incorporated queer imagery into their advertising campaigns. Despite fervent protests from socially conservative organizations, this trend shows no signs of abating."--Introduction.

2021 ◽  
Author(s):  
Kate Zieman

"The past five decades have seen a marked increase in attention to, and representations of, queer people in mainstream popular culture. Within the last ten years, several films and television programs featuring gay men and lesbians have garnered critical acclaim and high ratings among diverse audiences and myriad companies have incorporated queer imagery into their advertising campaigns. Despite fervent protests from socially conservative organizations, this trend shows no signs of abating."--Introduction.


2021 ◽  
pp. 000276422198976
Author(s):  
Darsana Vijay ◽  
Alex Gekker

TikTok is commonly known as a playful, silly platform where teenagers share 15-second videos of crazy stunts or act out funny snippets from popular culture. In the past few years, it has experienced exponential growth and popularity, unseating Facebook as the most downloaded app. Interestingly, recent news coverage notes the emergence of TikTok as a political actor in the Indian context. They raise concerns over the abundance of divisive content, hate speech, and the lack of platform accountability in countering these issues. In this article, we analyze how politics is performed on TikTok and how the platform’s design shapes such expressions and their circulation. What does the playful architecture of TikTok mean to the nature of its political discourse and participation? To answer this, we review existing academic work on play, media, and political participation and then examine the case of Sabarimala through the double lens of ludic engagement and platform-specific features. The efficacy of play as a productive heuristic to study political contention on social media platforms is demonstrated. Finally, we turn to ludo-literacy as a potential strategy that can reveal the structures that order playful political participation and can initiate alternative modes of playing politics.


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.


Race & Class ◽  
2018 ◽  
Vol 60 (2) ◽  
pp. 40-62 ◽  
Author(s):  
Tazreena Sajjad

Through a critical examination of European immigration policy and using the case of Afghan asylum seekers in the European continent, this article argues that the politics of labelling and the criminalisation and securitisation of migration undermine the protection framework for the globally displaced. However, the issue goes deeper than state politicking to circumvent responsibilities under international law. The construction of migrants as victims at best, and as cultural and security threats at worst, particularly in the case of Muslim refugees, not only assists in their dehumanisation, it also legitimises actions taken against them through the perpetuation of a particular discourse on the European Self and the non-European Other. At one level, such a dynamic underscores the long-standing struggle of Europe to articulate its identity within the economic, demographic and cultural anxieties produced by the dynamics of globalisation. At another, these existing constructions, which hierarchise ‘worthiness’, are limited in their reflection of the complex realities that force people to seek refuge. Simultaneously, the labels, and the discourse of which they are part, make it possible for Europe to deny asylum claims and expedite deportations while being globally accepted as a human rights champion. This process also makes it possible for Europe to categorise turbulent contexts such as Afghanistan as a ‘safe country’, even at a time when the global refugee protection regime demands creative expansion. Ultimately, the politics of European migration policy illustrates the evolution of European Orientalist discourse – utilised in the past to legitimise colonisation and domination, now used to legitimise incarceration and deportation.


2012 ◽  
Vol 143 (1) ◽  
pp. 99-109 ◽  
Author(s):  
Matthew Allen

This article explore how, in the first decade of the twenty-first century, the internet became historicised, meaning that its public existence is now explicitly framed through a narrative that locates the current internet in relation to a past internet. Up until this time, in popular culture, the internet had been understood mainly as the future-in-the-present, as if it had no past. The internet might have had a history, but it had no historicity. That has changed because of Web 2.0, and the effects of Tim O'Reilly's creative marketing of that label. Web 2.0, in this sense not a technology or practice but the marker of a discourse of historical interpretation dependent on versions, created for us a second version of the web, different from (and yet connected to) that of the 1990s. This historicising moment aligned the past and future in ways suitable to those who might control or manage the present. And while Web 3.0, implied or real, suggests the ‘future’, it also marks out a loss of other times, or the possibility of alterity understood through temporality.


2016 ◽  
Vol 60 (4) ◽  
pp. 121-141
Author(s):  
Elżbieta Tarkowska

One of the most substantial interdisciplinary topics in the study of contemporary culture is change in social time, which is expressed in the compression of time (and space) and changing relationships between the past, present, and future. Research and analysis situate the present in an exceptional position in contemporary culture, providing us with the term ‘culture of the present.’ At the same time, however, we are dealing with a phenomenon labeled the ‘explosion of memory’—an astounding multidirectional and multifaceted rise in interest in the past. It is therefore worthwhile to investigate the structures and mechanisms of collective memory, as well as how the past is defined in contemporary culture, from the perspective of time as a social and cultural phenomenon. Questions should be asked regarding the mechanisms that unite the dominance of the present in culture with a rising interest in the past. The perspective of social time reveals that the ‘culture of the present,’ the current dominating forms of memory intensification, and the heightened awareness of the past, are influenced by the same or similar factors. These include new media and communication technologies, as well as consumption and popular culture, which change the structure of time, condense the time horizon, alter the manner in which the past is experienced, and modify the mechanisms of collective memory.


Author(s):  
Shawn Malley

Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.


Author(s):  
Eric A. Thomas

This essay examines the epilogue of Revelation (22:8-21) as an intervention for new imaginations of, and actions toward, a new heaven and new earth that can be realized in the present. It names the ways that Revelation (indeed, the Bible) is used to make outsiders of queer people. More importantly it suggests that the author/narrator John is not the only one who can be filled with the spirit on the Lord(e)’s day with something to say to those “with ears to hear.” The particular “queer time and place” of this investigation occurs at the intersection of queers of color critique, theories of queer temporality, and Sankofa—the Akan concept that we take what is beneficial from the past in order to work toward a more pleasurable future. Composite sketches of the lives of queer folks in the African Diaspora are gathered to create a “deep archive” (following Judith Halberstam) from which Muñoz’s call for new visions of a utopian “then and there” can be articulated in resistance to their apocalyptic “here and now.” Consequently, a re-vision of the death-dealing epilogue can become a life-restoring prologue toward the enactment of Africana queer utopian futures outside of apocalyptic Christo-heteronormativity.


Author(s):  
Nimet Ersin

In the process of globalization, popular culture has spread all around the world far more easily via television. Following 1980s, commercial televisions increasing together with the dominance of liberal economy have operated in accordance with commercial logic, and therefore, television programs have been produced for upper ratings, accordingly for getting high advertisement profits. Together with globalization, television programs have rather focused on entertainment. Popular culture has influenced programme genres both in terms of making existing programs entertaining and emerging novel amusing program genres. In this chapter, following the discussions on popular culture, the increase in entertainment in television programs is generally discussed, and then, the increase in entertainment in television programs in Turkey in the process of globalization is analyzed.


Author(s):  
Desiree L. DePriest

Current societal shifts are unfolding connections between laws, acts, and behaviors of the past that affect education in the present. There is limited scholarship that reveals the historical intentionality in excluding underrepresented and marginalized persons from education. The concern is that the quest for higher industry recognition based on the old models of elite and traditional schools will make online environments vulnerable to those same exclusions. The mission is to apply transparency to the underlying disparate history in education and how severely it has affected so many generations of people, change the paradigm going forward, and not repeat homogeneity online. This chapter proposes a critical examination of factors that necessitated the evolution from past education models established to perpetuate societal dominance by a select few, to the present inclusive online learning models. The chapter argues that technology, along with the failure to include diverse populations as a unique demographic, contributed to the disruption that became online learning.


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