scholarly journals When Emergency Becomes Everyday Life: Revisiting a Central EiE Concept in the Context of the War on Drugs

2020 ◽  
Vol 6 (1) ◽  
pp. 57
Author(s):  
Roozbeh Shirazi
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Emergency Response ◽  
War On Drugs ◽  
Unexpected Event ◽  
Education In Emergencies ◽  
Narrative Constructions ◽  
Blind Spots ◽  
Questions And Responses

Though "emergency" is a key concept in the field of education in emergencies, scholars and practitioners have long been ambivalent about this term and what conditions it can refer to. In this article, drawing from the work of anthropologist Janet Roitman, I critically revisit the concepts of emergency and crisis, and propose that understanding emergency primarily as a moment of shock or the unexpected event obscures how seemingly normal conditions may produce their own impasses. Rather than being characterized by a consensus of meaning, crises entail narrative constructions that create new temporalities and frame certain questions and responses as possible, others as not. In this article, I juxtapose two narrative constructions of crisis in popular culture to explore how narrative constructions of the war on drugs can produce jarringly different accounts of the crises they are said to represent. I suggest that explicitly attending to the underlying politics of crisis narration—though possibly complicating emergency response—is vital to naming and resolving possible ethical blind spots and impasses in the field of education in emergencies.

Some Reflections on Making Popular Culture in Urban Africa

2008 ◽  
Vol 51 (3) ◽  
pp. 75-89 ◽  
Author(s):  
AbdouMaliq Simone
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Urban Residents ◽  
The Everyday ◽  
Urban Africa ◽  
The City ◽  
Ways Of Being

Abstract:In contemporary urban Africa, the turbulence of the city requires incessant innovation that is capable of generating new ways of being. Rather than treating popular culture as some distinctive sector, this article attempts to investigate the popular as methods of bringing together activities and actors that on the surface would not seem compatible, and as experimental forms of generating value in the everyday life of urban residents. This investigation, sited largely in Douala, Cameroon, looks at how youth from varying neighborhoods attempt to get by, and at the unexpected forms of contestation that can ensue.

scholarly journals The politics of a ‘Poncy Pillowcase’: Migration and borders in Coronation Street’

Politics ◽  
2016 ◽  
Vol 37 (3) ◽  
pp. 273-287 ◽  
Author(s):  
Alexandria J Innes ◽  
Robert J Topinka
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Everyday Life ◽  
Soap Opera ◽  
Race Ethnicity ◽  
And Gender

This article examines the ways in which popular culture stages and supplies resources for agency in everyday life, with particular attention to migration and borders. Drawing upon cultural studies, and specific insights originating from the Birmingham Centre for Contemporary Cultural Studies, we explore how intersectional identities such as race, ethnicity, class, and gender are experienced in relation to the globalisation of culture and identity in a 2007 Coronation Street storyline. The soap opera genre offers particular insights into how agency emerges in everyday life as migrants and locals navigate the forces of globalisation. We argue that a focus on popular culture can mitigate the problem of isolating migrant experiences from local experiences in migrant-receiving areas.

BEYOND THE TOURIST EXPERIENCE: ANALYZING THE IMAGINATION OF PLACE AND TRAVEL IN EVERYDAY LIFE

2021 ◽  
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Identity Work ◽  
The Self ◽  
Small Scale ◽  
Individual State ◽  
Imaginary World ◽  
Tourism Research ◽  
State Of Mind ◽  
Depth Interviews

This article advocates a new agenda for (media) tourism research that links questions of tourist experiences to the role and meaning of imagination in everyday life. Based on a small-scale, qualitative study among a group of seventeen respondents of diverse ages and backgrounds currently residing in the Netherlands, we offer an empirical exploration of the places that are of importance for people’s individual state of mind and investigate how these places relate to (potential) tourist experiences. The combination of in-depth interviews and random-cue self-reporting resulted in the following findings: 1) all our respondents regularly reside in an elaborate imaginary world, consisting of both fictional and non-fictional places; 2) this imaginary world is dominated by places which make the respondents feel nostalgic; 3) in this regard, the private home and houses from childhood are pivotal; 4) the ‘home’ is seen as topos of the self and contrasted with ‘away’; 5) the imagination of ‘away’ emerges from memories of previous tourist experiences, personal fantasies and, last but not least, influences from popular culture. We conclude that imagining and visiting other locations are part of a life-long project of ‘identity work’ in which personal identities are performed, confirmed and extended. By travelling, either physically or mentally, individuals anchor their identity - the entirety of ideas about who they are, where they come from and where they think they belong - in a broader, spatial framework.

scholarly journals Film as medium for meaning making: A practical theological reflection

2017 ◽  
Vol 73 (4) ◽  
Author(s):  
Anita L. Cloete
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Empirical Research ◽  
Religious Identity ◽  
Practical Theology ◽  
Meaning Making ◽  
Specific Form ◽  
Theological Reflection ◽  
The Self ◽  
Practical Theological

The reflection on film will be situated within the framework of popular culture and livedreligion as recognised themes within the discipline of practical theology. It is argued that theperspective of viewers is of importance within the process of meaning-making. By focusing onthe experience and meaning-making through the act of film-watching the emphasis is not somuch on the message that the producer wishes to convey but rather on the experience that iscreated within the viewer. Experience is not viewed as only emotional, but rather that, at least,both the cognitive and emotional are key in the act of watching a film. It is therefore arguedthat this experience that is seldom reflected on by viewers could serve as a fruitful platform formeaning-making by the viewer. In a context where there seems to be a decline in institutionalisedforms of religion, it is important to investigate emerging forms of religion. Furthermore, theturn to the self also makes people’s experiences and practices in everyday life valuableresources for theological reflection. This reflection could provide a theoretical framework forespecially empirical research on how film as specific form of media serves as a religiousresource and plays a role in the construction of meaning and religious identity.

scholarly journals Repackaging Popular Culture: Commentary and Critique in Community

2012 ◽  
Vol 5 (2) ◽  
Author(s):  
Tully Barnett ◽  
Ben Kooyman
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Everyday Life ◽  
Pop Culture ◽  
Big Bang ◽  
Fan Culture ◽  
High Stakes ◽  
History Of ◽  
Nerd Culture ◽  
The Big Bang

Contemporaneous with the collision of Science Fiction/Fantasy with the mainstream evident in the success of nerd culture show The Big Bang Theory (2007- ), Joss Whedon’s The Avengers (2012), the growth of Comic Con audiences and so on, Dan Harmon developed Community (2009- ), a sitcom depicting a study group at a second-rate community college. The show exemplifies a recent gravitation away from the multi-camera, laugh-track driven sitcom formula, alternating between “straight” episodes dealing with traditional sitcom premises, though always inflected with self-aware acumen, and more ambitious, unconventional episodes featuring outlandish premises, often infused with the trappings of genre and geek fandom. The show presents apocalyptic action- and Western-style paintball wars, epidemics that evoke zombie cinema, a Yahtzee game that spirals into alternate timelines, and a high-stakes Dungeons and Dragons game that blurs the boundaries between reality and fantasy.  Both the straight and the unconventional episodes ultimately serve the same purpose, examining the intersection between nerd culture and everyday life. This essay discusses a number of episodes which exemplify Community’s intersections between everyday life and popular culture, charting the show’s evolving preoccupation with pop culture and intertwining of reality and fantasy. It discusses Community’s self-referentiality as a sitcom, its ambitious and elaborate recreations of and homages to pop culture artefacts, and its explicit gravitation towards Science Fiction and Telefantasy in its third season. Through its various homages to popular culture and ongoing depiction of fan culture, we posit that the show is both a work of fandom and a work about fandom, advocating for the pivotal role of fandom in everyday life and for popular culture as a tool for interpreting, comprehending and navigating life. In this respect, the show contributes to the long history of both the sitcom and Telefantasy as vehicles for cultural commentary.

Negotiating Spirituality

2014 ◽  
pp. 57-71
Author(s):  
Ruly Darmawan
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Media Consumption ◽  
Natural Properties ◽  
Religious Rituals ◽  
The Everyday ◽  
Being Religious

Religion in popular culture is inevitable from the packaging that led to the commodification of religion itself. This commodification becomes possible due to the natural properties of agents of popular culture. If we look at it closely, there are some attempts for this commodification to some religious rituals/activities. In some media, this commodification is packed with an effort that blends musical and theatrical compositions. This chapter describes the reality of commodification on religion that exists commonly in some media entertainment. This chapter is a kind of reflection towards the “being religious” situation that is commonly found in the everyday life and daily media consumption, especially on television during religious holidays.

Hollywood Animation, Late Modernity and Contemporary America

2021 ◽  
pp. 78-108
Author(s):  
Noel Brown
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Fairy Tale ◽  
Similar Function ◽  
Contemporary Culture ◽  
Modern Life ◽  
Social Commentary ◽  
Late Modernity ◽  
Intertextual Allusion ◽  
Distinguishing Features

One of the primary distinguishing features of post-1990s Hollywood animation is its foregrounding of contemporary culture and society. While many of the ‘classic’ Disney films are set in fantastical or fairy tale landscapes geographically and temporally removed from everyday life (‘once upon a time…’), most animated features from the early 1990s onwards are self-conscious artefacts of late modernity. There are two primary manifestations of the foregrounding of contemporary culture in post-1990s Hollywood animation. The first, and most immediately visible, is (a usually comic) intertextuality that takes the form of an intensified referentiality to other works of popular culture and modern life more broadly. The second form is that of social commentary, which is often satirical in nature and tends to be a more abiding thematic focus than the intertextual allusion. This chapter argues that both forms serve a similar function: they are strategies of proximation that anchor films to recognisable and identifiable situations and events.

Nostalgia and the Remains of Everyday Life

2020 ◽  
pp. 78-111
Author(s):  
Maya Nadkarni
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Everyday Life ◽  
Political System ◽  
Historical Narratives ◽  
The Political ◽  
The Past ◽  
International Discourse ◽  
State Socialist

This chapter argues that the various attempts to distance the past became the condition of Hungary for its return in the form of nostalgia for socialist mass and popular culture. It discusses the remains of socialism from anachronistic monuments and devalued historical narratives to the detritus of an everyday life now on the brink of vanishing, such as candy bars and soda pop. Despite appearances, this nostalgia did not represent a wistful desire to return to the previous era nor simply to the gleeful impulse to laugh at state socialist kitsch found years earlier. The chapter explains the detachment of fond communal memories of certain objects from the political system that produced them. It points out the ironic invocation of the international discourse of cultural heritage that legitimate the trash of the previous era and enabled Hungarians to redefine themselves as both savvy capitalist consumers and cultured democratic citizens.

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