Face vastaan Heel

Artikkeli käsittelee stereotyyppisen ”hyvän” ja ”pahan” kamppailua yhdysvaltalaisessa televisioidussa showpainissa. Showpaini on yleisöviihdettä, jossa kamppailulajit yhdistyvät teatterimaiseen esiintymiseen käsikirjoitetuissa ja ennalta päätetyissä tarinoissa. Showpaini on suureellista spektaakkelia, jossa käytetään liioiteltuja reaktioita.Tämä artikkeli käsittelee hyvän ja pahan kohtaamista showpainissa yhden erityisen kuvaavan tapausesimerkin kautta, joka on valikoitu yhdysvaltalaisesta WWE-showpainiorganisaatiosta. Tapausesimerkissä ”hyvä” (face) eli Shinsuke Nakamura kohtasi ”pahan” (heel) eli Samoa Joen sarjassa otteluita, jotka televisioitiin suurelle yleisölle ja joihin liittyi runsaasti oheismateriaalia Internetissä. Artikkelimme tarkastelee, kuinka tämä spektaakkelinen kokonaisuus rakennettiin tarinallisesti näistä elementeistä. Kysymme, miten ja millaisista osista televisioitu showpaininarratiivi rakentuu.Avainsanat: showpaini, mediaspektaakkeli, urheiluviihde, face, heel.Face versus Heel. Battle of Good and Evil in American televised professional wrestlingThe article investigates the stereotyped battle of “good” versus “bad” on televised American professional wrestling. Professional wrestling, or “Sports Entertainment” as WWE-promotion calls it, is an extremely popular audiovisual spectacle, which combines elements of sports, martial arts, theatre, and dance performances. It also uses spectacular theatrical reactions and audience participation on competitions, where outcomes are (usually) predetermined.Demonstrating a structural analysis of the narrative, the article focuses on the construction of a professional wrestling spectacle by doing a case study on a series of matches from WWE (World Wrestling Entertainment), where Shinsuke Nakamura, a stereotyped “good” wrestler (so-called Face) fought against Samoa Joe, a stereotyped “evil” wrestler (so-called Heel).Keywords: professional wrestling, show wrestling, media spectacle, sports entertainment, face, heel

Rethinking the Scopes Trial: Cultural Conflict, Media Spectacle, and Circus Politics

The Scopes trial has long been interpreted through claims about science and religion and about individual rights and liberties. This article recovers a different debate about the trial's political history that emerged in the later 1920s and resonated down the twentieth century. Here the trial figured as a fraught national circus, which raised difficult questions about the relationship between media spectacle and cultural conflict in the United States. The trial's circus dynamics intensified the conflicts it staged without ever actually resolving them; this trap was then perceived and negotiated in different ways by contemporary liberals, conservatives, socialists, and far-right activists.

Introduction

Drawing on a number of examples from writers such as D. H. Lawrence and James Joyce, the introduction develops the concept of “wastepaper modernism”: an awareness of communicative failure that finds its most potent manifestation in images of wasted and ruined print. While “wastepaper modernism” finds its fullest constellation at mid-century, its origins lie at the end of the Victorian era. In a moment that is symptomatic of an emerging ambivalence towards the printed residue of history, Henry James, watching the media spectacle of Queen Victoria’s Diamond Jubilee, figures the transition of one age into another as a layering of papery debris over papery debris: the presentable “historic page” becomes only another peeling poster or discarded billet that accumulates in the Jubilee’s aftermath. To be modern, for James, is to anticipate ruination.

Babylon Berlin: Media, Spectacle, and History

Babylon Berlin (henceforth BB) premiered in Germany on the pay channel Sky TV in October 2017 and in the United States on the streaming service Netflix in January 2018. It is based on Volker Kutscher's series of crime novels set in late Weimar Republic and early Nazi-era Berlin. At its center are the lives and investigations of the laconic and tormented police detective Gereon Rath and his charismatic and irrepressible assistant Charlotte (Lotte) Ritter. In anticipation of the series premiere on public television, marathon screenings took place in 150 cinemas across Germany, where audience members dressed up in 1920s fashion and enjoyed a Currywurst break. Its viewership in the Federal Republic was topped only by the global fantasy behemoth Game of Thrones. The series is clearly modeled on American series such as Mad Men (2007–2015) and The Wire (2002–2008) as it unfolds a complex web of characters and subplots with loving attention to the history and fashions of the time. Indeed, this collaboration of seasoned directors Tom Tykwer, Achim von Borries, and Henk Handloegten is the most expensive German TV series to date. The fact that BB premiered on pay TV while having been largely produced with public funds drew some ire. German reviewers questioned both the circumstances of its production and its creative ambition. While Der Spiegel called it “a masterpiece,” one much debated blog review went so far as to call it “pure crap,” which neither reflected historical truth nor carried artistic merit. Many critics faulted the series for trading in postcard clichés and creating a 1920s “Berlin Disneyland.” The weekly Die Zeit complained that there was a little too much cute dialect, such as “icke” and “kiek ma,” which made the critic sometimes feel like wiping the dirt makeup off the proletarian faces. (And indeed, one of the numerous intertexts of this series are Heinrich Zille's unflinching depictions of proletarian misery.)

Get That S.O.B. Off the Field: A Critical Discourse Analysis of NFL Team Owners’ Responses to President Trump’s Comments About Athlete Protests

In this study, scholarship was extended on the cultural meanings of race and athlete activism by interrogating one key media spectacle surrounding athlete protests: President Trump’s 2017 speech questioning the National Football League (NFL) players’ character, with a focus on NFL owners’ responses. The NFL owners’ statements (n = 32) were subjected to critical discourse analysis. Discourses of post-racial nationalism and functionalism and the subject positions of “good player citizen” and “benevolent facilitator” (re)created meanings of the protests devoid of racial politics, linked to ideologies of color blindness, meritocracy, and diversity. These discourses and subject positions allowed the NFL owners to control protest meanings to maintain White privilege and appeal to their White fan base. These findings expand research on color-blind racism in sport, which perpetuates neoliberal ideals and the myth of a post-racial America, via taken-for-granted language use within discourses.

The political choreography of the Sophia robot: beyond robot rights and citizenship to political performances for the social robotics market

A humanoid robot named ‘Sophia’ has sparked controversy since it has been given citizenship and has done media performances all over the world. The company that made the robot, Hanson Robotics, has touted Sophia as the future of artificial intelligence (AI). Robot scientists and philosophers have been more pessimistic about its capabilities, describing Sophia as a sophisticated puppet or chatbot. Looking behind the rhetoric about Sophia’s citizenship and intelligence and going beyond recent discussions on the moral status or legal personhood of AI robots, we analyse the performativity of Sophia from the perspective of what we call ‘political choreography’: drawing on phenomenological approaches to performance-oriented philosophy of technology. This paper proposes to interpret and discuss the world tour of Sophia as a political choreography that boosts the rise of the social robot market, rather than a statement about robot citizenship or artificial intelligence. We argue that the media performances of the Sophia robot were choreographed to advance specific political interests. We illustrate our philosophical discussion with media material of the Sophia performance, which helps us to explore the mechanisms through which the media spectacle functions hand in hand with advancing the economic interests of technology industries and their governmental promotors. Using a phenomenological approach and attending to the movement of robots, we also criticize the notion of ‘embodied intelligence’ used in the context of social robotics and AI. In this way, we put the discussions about the robot’s rights or citizenship in the context of AI politics and economics.

Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm

Examining facets of modernist visions of our technological future and of theatricalized city and stage spaces in the 1993 animated film Batman: Mask of the Phantasm, this article explores the cultural meaning of technology in graphic fiction. The confrontation scene between Batman and Joker in the grounds of Gotham’s World’s Fair, the author argues, echoes the 1939 New York World’s Fair with its modernist urban optimism and pop cultural fascination with new visionary technologies, as well as the modern history of moving pictures and multi-media spectacle. The article spotlights the power of the Batman story to participate in, and contribute towards, complex cultural inquiry and transmedial discourses around technology and popular entertainments. Through the exquisite medium of animation – which allows animated characters to be placed on an abstract architectural city stage – Mask of the Phantasm also embodies modernist visions of the ‘ideal’ stage character in a medium that creates non-realist art and more complex possibilities for movement, thus transporting modernist thinking into the 20th century.

A Spectacle of Silencing: A Rural African-Canadian Woman’s Media Trial

This thematic case study explores international, national, and local media coverage of a conflict between Barb Reddick, a rural, working-class, African-Nova Scotian woman, and her nephew over the ownership of a winning ‘Chase the Ace’ lottery ticket. Beginning from general media valuation of lottery winners, and Canadian coverage of the Nova Scotia CTA lottery ‘craze’, we find when Reddick goes off script as loving aunt she is pathologized and degraded in a dramatic reversal from soft to hard news story. Reddick’s habitus and trust in journalists to support her counternarrative became the dramatic content of media spectacle-making – what we call a ‘spectacle of silencing’ – as well as her deviance from Canadian white rurality, and class and gender norms. Rather than mere ‘misrepresentation’ of minorities, we conclude that the dynamics of counternarrative struggle are embedded in reportage itself as spectacle, reproducing the legitimacy and authority of journalistic institutions through a symbolic violence of consensus making.

The Media Spectacle of a Techno-City: COVID-19 and the South Korean Experience of the State of Emergency

This essay provides a critical observation of the South Korean government's distinctive management of COVID-19 with particular reference to the state of emergency. It reveals that the success of South Korea's handling of the pandemic is largely attributed by a majority of Western media to the efficient deployment of both information and communication technologies and Confucian collectivism, two components that seem contradictory yet not incompatible under the rubric of techno-Orientalism. Analyzing the intensification of surveillance and the rapid datafication of society, this essay argues that the current state of emergency is not a breakdown of normality but a continuation of the state of crisis and disaster that rules a developing country like South Korea. In doing so, the essay seeks to facilitate a critical discussion about a new mode of democracy in the era of pandemic that increasingly grapples with tensions between individual freedom and public health.

Making Enemies: the Mainstream Media Spectacle and US Foreign Policy

As Herbert Schiller long ago observed, the mainstream (corporate) media (MSM) in the US have long been instruments of state power. However, since the nineteenth century, the reading public has relied on the news media as a pillar, albeit flawed, of a liberal democratic society. While the public still regards a “free press” as essential to democracy, it no longer has confidence that the mainstream media deserve that status. Trust levels in the MSM have plummeted since the 1970s, reflecting a larger pattern of distrust of public and private institutions in general, including the US Congress. Even many media professionals themselves do not see the US as defending the freedom of investigative journalism. Moreover, the quality of corporate media, more owner-concentrated than ever, has declined, often to the level of tabloid spectacle, as profit-oriented news departments try to compete with a wide array of 24/7 news platforms, including those coming from social media. The era of neoliberalism has all but eliminated the public service ideology behind news and public affairs reporting, and concurrently there has emerged a crisis of state legitimacy that threatens the foundations of the liberal democratic order.