The Media and Cultural Production

2001 ◽  
Keyword(s):  
Cultural Production ◽  
The Media

scholarly journals The Nested Precarities of Creative Labor on Social Media

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Ecological Model ◽  
Creative Economy ◽  
Cultural Industries ◽  
Professional Success ◽  
Social Media Platforms ◽  
The Media ◽  
Depth Interviews

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.

scholarly journals Continental shifts: capitalism, communications and change in Europe

2005 ◽  
Vol 7 ◽  
pp. 11-23
Author(s):  
Graham Murdock
Keyword(s):  
Political Economy ◽  
Cultural Production ◽  
Critical Approach ◽  
Production And Consumption ◽  
Challenges And Opportunities ◽  
Recent Developments ◽  
Classic Approach ◽  
Media Markets ◽  
The Media ◽  
Distribution Of Power

This article puts forward the fundamental lines of thought on the Political Economy of Communications and the Media, since the development of capitalism up to the present day. Clarifying the distinction between Economy and Political Economy, this work examines the central split between two traditions within Political Economy: the Classic approach which is centred on markets and competition mechanisms and the Critical approach which is centred on the analysis of property and the distribution of power in society. Despite internal distinct traditions, for political economists’ questions about cultural production and consumption are never simply matters of economic organisation or creative expression and the relations between them. They are always also questions about the organisation of power and its consequences for the constitution of public life. Based on different Political Economy perspectives, this article attempts to present the most recent developments on communications and media markets in Europe and the major challenges and opportunities the discipline faces in a time marked by the emergence of a digital public sphere.

La Terra dei Fuochi

2018 ◽  
Vol 2 (1) ◽  
pp. 15-28
Author(s):  
Salvatore Giusto
Keyword(s):  
Radioactive Waste ◽  
Cultural Production ◽  
Political Change ◽  
Southern Italy ◽  
Academic Literature ◽  
The Media ◽  
Cultural Sphere

In the summer of 2013, two major televisual outlets released a groundbreaking campaign of information about a massive mafia-lead traffic of toxic and radioactive waste involving the peripheries of Napoli and Caserta, southern Italy, which was historically covered up by the national secret services. The widespread mass-mediation of such a dramatic news significantly impacted the local cultural sphere. At the same time, it elicited eclectic (re)actions among the dwellers of these two areas, which the media dubbed as the “Land of Fires.” This article ethnographically analyzes the “Land of Fires” case study as a discursive milieu that mirrors the relationships between power, cultural production, and political change in neoliberal Italy. In so doing, it aims to redefine the contemporary Italian mediascape, which most academic literature describes as a “cynical” machine of political consent merely engendering “televised” subjectivities amid its publics, as an highly controversial (but still sophisticated and vibrant) space of socio-cultural production.

Resisting subalternity: Palestinian mimicry and passing in the Israeli cultural industries

2020 ◽  
Vol 42 (7-8) ◽  
pp. 1293-1308
Author(s):  
Amal Jamal ◽  
Noa Lavie
Keyword(s):  
Cultural Production ◽  
Cultural Industries ◽  
Media Industry ◽  
Full Compliance ◽  
Subaltern Agency ◽  
Common Notion ◽  
Creative Workers ◽  
The Media ◽  
The Common

This article explores the complexity of minority creative workers in the media industry. It challenges the common notion in the literature that minority creative workers are fully submissive to the dominant power structure and examines whether such workers could still be conceived as active agents by resisting submission and marginalization even when they cannot influence their own representation in hegemonic media texts. To answer this question, it explores the performances of minority creative workers in a hegemonic cultural industry. To determine whether one can speak of subaltern agency and, if possible, examine how it manifests itself in reality, it addresses the daily performances of Palestinian creative workers during the production of the second season of the Israeli television series, Fauda. Observations conducted during production demonstrate that since in such contexts minority creative workers cannot avoid being projected in negative roles in the media text, they adopt creative subversive practices of passing and transgressive mimicry, resisting full compliance with the production, without endangering their own position. By doing so, the article contributes not only to the emerging field of creative entrepreneurship in cultural production, but also enables determination of common practices of creative subversion in the cultural industries.

Book Review: The Media and Cultural Production

2003 ◽  
Vol 39 (1) ◽  
pp. 107-108
Author(s):  
Timothy Marjoribanks
Keyword(s):  
Cultural Production ◽  
The Media

scholarly journals There are some alternatives: Remembering 1980s Britain in contemporary British literature

2021 ◽  
Author(s):  
◽  
Ella Reilly
Keyword(s):  
Cultural Production ◽  
British Literature ◽  
Historical Novels ◽  
Black Swan ◽  
Tony Blair ◽  
The Public ◽  
Contemporary British Literature ◽  
Falklands War ◽  
The Media ◽  
Specific Interests

<p>This thesis explores how the 1980s haunt contemporary British literature. Cognizant of a trend of cultural production (literary, film, television, music) interested in this period since the beginning of the twenty-first century, this thesis focuses on three historical novels by three critically acclaimed authors: Alan Hollinghurst’s The Line of Beauty, David Peace’s GB84 (both 2004) and David Mitchell’s Black Swan Green (2006). It reads these historical novels as memory texts conditioned both by their moment of publication (mid-2000s Britain under the premiership of Tony Blair) and the moments of the 1980s that they remember (1980s Britain under the premiership of Margaret Thatcher). These novels are oriented around different facets of the 1980s (the high-Tory world, the 1984-85 miners’ strike and the Falklands War respectively) and so, read together, offer a cumulative portrait of the decade. However, each novel is read on its own terms for its specific interests in the public aspects of the 1980s. This thesis is thus divided into three chapters, with each taking a different memory discourse or mode as its analytical approach, as invited by the particularities of the novel it examines. The Line of Beauty is read in terms of the spectral presence of heritage; GB84 in terms of occulted and occulting nostalgia; Black Swan Green in terms of the media and postcolonial melancholia.</p>

scholarly journals There are some alternatives: Remembering 1980s Britain in contemporary British literature

2021 ◽  
Author(s):  
◽  
Ella Reilly
Keyword(s):  
Cultural Production ◽  
British Literature ◽  
Historical Novels ◽  
Black Swan ◽  
Tony Blair ◽  
The Public ◽  
Contemporary British Literature ◽  
Falklands War ◽  
The Media ◽  
Specific Interests

<p>This thesis explores how the 1980s haunt contemporary British literature. Cognizant of a trend of cultural production (literary, film, television, music) interested in this period since the beginning of the twenty-first century, this thesis focuses on three historical novels by three critically acclaimed authors: Alan Hollinghurst’s The Line of Beauty, David Peace’s GB84 (both 2004) and David Mitchell’s Black Swan Green (2006). It reads these historical novels as memory texts conditioned both by their moment of publication (mid-2000s Britain under the premiership of Tony Blair) and the moments of the 1980s that they remember (1980s Britain under the premiership of Margaret Thatcher). These novels are oriented around different facets of the 1980s (the high-Tory world, the 1984-85 miners’ strike and the Falklands War respectively) and so, read together, offer a cumulative portrait of the decade. However, each novel is read on its own terms for its specific interests in the public aspects of the 1980s. This thesis is thus divided into three chapters, with each taking a different memory discourse or mode as its analytical approach, as invited by the particularities of the novel it examines. The Line of Beauty is read in terms of the spectral presence of heritage; GB84 in terms of occulted and occulting nostalgia; Black Swan Green in terms of the media and postcolonial melancholia.</p>

scholarly journals MÍDIA, MULHER E CORPO: UMA ANÁLISE A PARTIR DO DOCUMENTÁRIO “O CORPO É MEU”

2020 ◽  
Vol 1 ◽  
pp. 133
Author(s):  
Wolney Nascimento Santos ◽  
Fabio Zoboli ◽  
Cristiano Mezzaroba
Keyword(s):  
Cultural Production ◽  
The State ◽  
Short Film ◽  
Women's Bodies ◽  
Material Support ◽  
Neoliberal Capitalism ◽  
The Media ◽  
Cultural Dynamic ◽  
Present Text ◽  
Woman's Body

O presente texto tem como objetivo analisar o curta-metragem sergipano “O corpo é meu (2014)”, de Luciana Oliveira Vieira, interpelando o corpo da mulher como suporte material da mídia a partir das narrativas trazidas pela diretora na obra fílmica. O escrito se propõe a desnaturalizar as práticas que usam o corpo da mulher para fazer girar as engrenagens do capitalismo neoliberal relegando-as a objetos de consumo ou a corpos consumidores. Acredita-se que o documentário analisado foi representativo na medida em que se propõe a abalar e transformar pela – e na – luta coletiva de mulheres as dinâmicas tradicionais e conservadoras da sociedade. “O corpo é meu” se torna um mecanismo simbólico, uma produção cultural descolonizadora que evidencia a captura dessa transformação no estado de Sergipe, como parte de uma dinâmica cultural nacional e internacional comprometida com a ressignificação da existência da mulher.Palavras-chave: Documentário “O corpo é meu”. Mídia. Mulher. Corpo.ABSTRACTThe present text aims to analyze the 2014 short film from Sergipe called “O corpo é meu” by Luciana Oliveira Vieira questioning the woman’s body as material support of the media from the narratives brought by the director in the film work. The writing proposes to denaturalize practices that use women’s bodies to spin the gears of neoliberal capitalism by relegating them to consumer objects or consumer bodies. It is believed that the analyzed documentary was representative in that it proposes to shake and transform through – and within – the collective struggle of women the traditional and conservative dynamics of society. “It’s my body” becomes a symbolic mechanism, a decolonizing cultural production that highlights the capture of this transformation in the state of Sergipe, as part of a national and international cultural dynamic committed to the re-signification of women’s existence.Keywords: Documentary “O corpo é meu”. Media. Woman. Body.

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