Method and Meaning

2018 ◽  
pp. 47-76
Author(s):  
Shweta Kishore
Keyword(s):  
Cultural Production ◽  
Social Process ◽  
Media Representation ◽  
Critical Feature ◽  
Creative Processes ◽  
Standard Methods ◽  
Mainstream Media ◽  
The Everyday ◽  
Industry Professionals ◽  
Mode Of Production

Independent filmmakers have crafted non-standard methods and artistic vocabularies to realise a form of “independence” that frequently runs counter to commodity relations which position cultural production in terms of consumption and cultural producers as industry professionals. I argue that as a practice, independent Indian documentary has developed an artisanal mode of production that is deprofessionalised in contrast to the focus on professional specialisation and standardisation of creative processes in industrial modes of media production. This is a critical feature as it permits a radical re-imagination of documentary as signifying practice existing in the everyday that produces a system of references to interpret social process and actors, dismissed by mainstream media representation.

Anaphoric Trajectories of Creative Processes

2017 ◽  
pp. 142-155
Author(s):  
Sara Malou Strandvad
Keyword(s):  
Cultural Production ◽  
Network Theory ◽  
Cultural Sociology ◽  
Actor Network Theory ◽  
Creative Development ◽  
Actor Network ◽  
Creative Processes ◽  
Production Studies ◽  
Production Processes ◽  
Development Processes

This chapter critically questions the strategy of applying the Actor-Network Theory to media studies. Arguing that an application of a fixed ANT-approach fundamentally opposes the ambition of Actor-Network Theory, this chapter outlines a different way of drawing inspiration from ANT. Based in the writings of the French cultural sociologist Antoine Hennion, who has been a pioneer in developing a cultural sociology inspired by ANT, and the recent writings of Bruno Latour addressing cultural production, the chapter suggests investigating the “anaphoric trajectories” of creative development processes. To illustrate this approach, the chapter analyzes the case of a failed film project and considers how the content of creative production processes may be incorporated into cultural production studies.

Introduction

2020 ◽  
pp. 1-19
Author(s):  
Andrew C. Gilbert
Keyword(s):  
Ethnic Groups ◽  
Bosnia And Herzegovina ◽  
Cultural Production ◽  
Social Transformation ◽  
The Political ◽  
Creative Processes ◽  
International Intervention ◽  
Direct Participation ◽  
The One

This introductory chapter provides an overview of international intervention in Bosnia and Herzegovina. Years of international intervention had significantly shaped postwar politics in Bosnia and Herzegovina. Comprising an uneasy encounter between and among the political classes claiming to represent one of Bosnia's three main ethnic groups (Croats, Serbs, and Bosniaks) and a wide array of foreign agencies like the one headed by Austrian diplomat Wolfgang Petritsch, these interventions ranged from indirect relations of supervision to the direct participation of foreign agents in Bosnian government. This book studies international intervention and the problems of legitimacy that emerge in and through what can be called “intervention encounters.” It analyzes international intervention as a series of encounters to reveal the creative processes of cultural production and social transformation that happen in everyday interactions by members of unequally positioned groups.

scholarly journals More than a Game: Racecraft and the Adaptation of “Race” in Live Action Role Play

Humanities ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 124
Author(s):  
Samantha Eddy
Keyword(s):  
Role Play ◽  
Social Process ◽  
Double Standard ◽  
Ethnographic Study ◽  
Structured Interviews ◽  
The Everyday ◽  
Role Players ◽  
Definition Of ◽  
Live Action

Live action role players make the imaginative worlds of tabletop games manifest through collaborative storytelling and embodied play. Escaping the everyday, these communities could radically reimagine culture and challenge oppressive ideologies. Instead, they are deeply invested in essentializing “race”. I conducted a three-year ethnographic study alongside 20 semi-structured interviews to explore racecraft in live action role play. Supporting the groundbreaking work of Karen and Barbara Fields, I find that racecraft is a social process—continually negotiated and maintained through intimate interactions and community exchanges. Through this process, the definition of “race” is continually adapted while belief in this category remains entrenched. When participants confront racist stereotypes, practitioners coerce marginalized members into a false exchange. These members are encouraged to share experiences detailing the damage of problematic representations. Practitioners then reduce these experiences to monolithic understandings of “race”. In this insidious manner, anti-racist confrontations become fodder for racecraft. Complicating this further, patterned racism is characterized as an inborn quality of whiteness, minimizing practitioners’ accountability. Responsibility is then shifted onto marginalized participants and their willingness to engage in “racial” education. This trap is ingrained in the double standard of racism, adapting “race” such that whiteness is unrestricted by the monolithic definitions applied to those outside this category.

scholarly journals Understanding digital storytelling: individual ‘voice’ and community-building in youth media programs

Seminar.net ◽  
2010 ◽  
Vol 6 (2) ◽  
Author(s):  
Aneta Podkalicka ◽  
Craig Campbell
Keyword(s):  
Cultural Production ◽  
Digital Storytelling ◽  
Community Building ◽  
Social Process ◽  
Social Transformations ◽  
Youth Media ◽  
Digital Stories ◽  
Youth At Risk ◽  
The Right ◽  
Individual Voice

Digital storytelling (DST) has been widely used as a means of empowerment for marginalised voices across community-based projects worldwide. This paper discusses uses but also limitations of the practice in the context of a Melbourne-based youth media program for ‘youth at risk’ called YouthWorx. Based on our ongoing, long-term ethnographic research, we explore the cultural production of digital stories as a co-creative process that exposes a range of controversies to do with the politics of ‘voice’, genre’s communicative potential and ethical considerations. Concrete examples from YouthWorx’s pedagogical work serve to illustrate the values of self-expression (‘voice’), critical reflection and collaboration that form part of broader social transformations generated by these creative practices. The critique of DST practice offered here connects with existing studies concerned with the socially contextualised processes of media education, and the theoretical shift beyond ‘the right to speak’ towards ‘the right to be understood’ (Husband, 2009). The paper recommends more analytical attention be paid to a dynamic social process of learning (of media, interpersonal competencies) and community-building, extending beyond the immediate DST situation, rather than narrowing the focus on end-result atomised media products.

scholarly journals Bezerra, Kátia da Costa. Postcards from Rio; Favelas and the Contested Geographies of Citizenship. Fordham UP, 2017.

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Micaela Kramer
Keyword(s):  
Cultural Production ◽  
Brand Image ◽  
The State ◽  
World Cup ◽  
Fifa World Cup ◽  
Mainstream Media ◽  
Rich Material ◽  
Contested Geographies ◽  
Paralympic Games

By analyzing mostly visual contemporary cultural production (such as photographs or videos) from Rio’s favelas, Bezerra points to ways in which favela residents themselves provide rich material that challenges the portrayal of their communities in the mainstream media, where they are often criminalized and marginalized. Written with the backdrop of the city’s preparations for hosting the FIFA World Cup, Olympic and Paralympic games, Postcards from Rio is also a testimony to the detrimental effects of the commodification of space that occurs when the state prioritizes a city’s brand image over its citizens.

scholarly journals Streamer-Interface-Viewer Entanglement

2021 ◽  
Vol 37 (70) ◽  
pp. 131-150
Author(s):  
Zhen Ye
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Interface Design ◽  
Live Streaming ◽  
Power Relationship ◽  
Emotional Labour ◽  
The Everyday ◽  
Social Media Platforms ◽  
Two Stages ◽  
The Ideal

In China, the live-streaming industry has a distinctive model of cultural production: showroom live-streaming. It is often adopted by social media platforms to complement other social networking activities. This study reveals the ways in which social media platforms (specifically, Douyin and Momo) design their showroom livestreaming interfaces and aff ordances to normalise and commodify the aff ective interactions between female streamers and their male viewers and to establish a gendered power relationship. Using the walkthrough method during two stages of the apps (entry to live-streaming chatrooms and the everyday use of live-streaming chatrooms), this study analyses various aff ordances regarding their functional, sensory, and cognitive impacts on users. This research thereby demonstrates that the live-streaming interface design constructs two types of subject positions. The ideal user is constructed as a heterosexual male, who is empowered through the consumption of virtual gifts; in contrast, the interface nudges the female streamers to conduct emotional labour and deliver implicitly sexualised performances to maintain an aff ective relationship with viewers.

scholarly journals Beyond Turner’s Liminal Community: The Perpetual Crisis of Politics and the Everyday

2020 ◽  
Vol 8 (1) ◽  
pp. 1-15
Author(s):  
Daniel Hignell-Tully
Keyword(s):  
Niklas Luhmann ◽  
Political Language ◽  
Mainstream Media ◽  
The Social ◽  
The Everyday ◽  
The World ◽  
Autonomous Management ◽  
Social Anthropologist ◽  
Epistemological Violence ◽  
Politically Active

The social anthropologist Victor Turner describes the process of a communitas as orientated around crisis - a liminal stage by which the community compensates for any breaches within their existing understanding of the world. As a liminal stage, crisis is the means by which a community remains politically active, in so far as it relies on the local, autonomous management of change to the lived environment. This paper seeks to explore the nature of communication as a tool of crisis, arguing that the community relies upon a network of crisis occurring both from first-hand and communally-derived communication, for which it is the distance between its membership that allows a community to flourish. Invoking the critical theory of Jean-Luc Nancy, and systems theory of Niklas Luhmann to interrogate such a network, I will argue that it is the performed misuse of a communities shared symbols that allows it to maintain political resonance. With this in mind, I will propose that the advent of what I term ‘perpetual crisis’ seeks to fundamentally undermine such a resonance, usurping the lived crisis of our everyday interactions with Other, in favour of a perpetual state of epistemological violence that exists beyond the limits of our control.  Exploring the tone and utility of political language within the mainstream media, I will seek to draw a parallel between the narrative disjunction of politicians and their policies as a means of highlighting the imposition of a crisis that impedes communitas by distancing a communities membership from meaningful political redress.

Rethinking Ideology

1983 ◽  
Vol 13 (2) ◽  
pp. 203-219 ◽  
Author(s):  
Allan Young
Keyword(s):  
Social Process ◽  
Levels Of Analysis ◽  
Ideological Discourse ◽  
The Individual ◽  
The Relationship ◽  
Mode Of Production

Rethinking the relationship between medicine and ideology means investigating the origins of the efficacy of ideological knowledge. Only after this investigation is completed is it possible to advance claims about dominance and hegemony. In order to rethink ideology, it is useful to divide the field into three levels of analysis: the level of ideological knowledge, where manifold and contradictory facts and meanings are produced and come to occupy the consciousness of the individual; the level of ideological discourse, where ideological knowledge is organized into trajectories of dominant facts and meanings; and the level of ideological process, where discourses are given authority and, sometimes, incorporated into ideological hegemonies. However, such an investigation requires that we reject certain preconceptions about “rationality.” In the sovereign sense in which empiricist writers use this term, it has the effect of hiding the origins of ideological knowledge by desocializing its mode of production. Correctly understood, rationality is only one element within a socially determined and embedded rationalization process through which dominant facts and meanings are produced. Only by distinguishing between rationality (an aspect of mind) and rationalization (a social process) is it possible to clarify the relationship between ideology, medicine, and science.

Integration à tout prix: Islam, Islamism, and the Hijab in Yamina Benguigui’s Aïcha

2020 ◽  
Author(s):  
Siham Bouamer
Keyword(s):  
Young People ◽  
Cultural Production ◽  
Public Television ◽  
Television Channel ◽  
Mainstream Media ◽  
Successful Model

Abstract This study examines the depiction of Islam in Aïcha, Yamina Benguigui’s series of téléfilms released between 2009 and 2012 on the French public television channel, France 2. While this specific cultural production offers promising possibilities for the renewal of the representation of Maghrebi-French young people in mainstream media, the study argues that Benguigui fails to differentiate Islam from radical Islamism in her discussion of a successful model of integration. Specifically, it aims to unpack the representation of the politics of the hijab through the heroine, Aïcha. It demonstrates that she serves as an agent who cultivates the conflation of religion with fundamentalism, which ultimately nurtures a fear of the presence of Muslims in France.

scholarly journals Response and responsibility: Mainstream media and Lucy Meadows in a post-Leveson context

Sexualities ◽  
2018 ◽  
Vol 22 (1-2) ◽  
pp. 31-47 ◽  
Author(s):  
Kat Gupta
Keyword(s):  
Detailed Examination ◽  
Media Representation ◽  
News Reporting ◽  
Mainstream Media ◽  
Pronoun Use ◽  
The Media ◽  
Newspaper Articles

In this article, I focus on misgendering through pronoun use through a case study of news reporting on Lucy Meadows. I collect two corpora of newspaper articles and use these to identify keywords – words that occur more frequently in the Lucy Meadows texts than might be expected from examining the collection of general news texts. I explore patterns of pronoun use in the media representation of Lucy Meadows, and argue that press misgendering can take more subtle forms than the reporter’s use of ‘inappropriate pronouns or placing the person’s identity in quotation marks to dismiss the veracity of the subject’s identity’ (Trans Media Watch, 2011: 11). This article offers a detailed examination of strategies accounting for the majority of male pronoun use: selective quotation of key interviewees, repetition and metacommentary.

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