Millennial Messiahs, Female Fixers, and Corporate Boards

IF 0.6 3区 艺术学 0 FILM, RADIO, TELEVISION
Lisa Parks, F. Twine
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引用次数: 0

Abstract

This article explores how television dramas function as a cultural forum on the workplace power dynamics of US tech startups. Focusing on the limited series, Super Pumped and WeCrashed, which are about Uber and WeWork, the authors analyze how relations of race, class, and gender/sexuality emerge in these narrativized techworlds via several “figures,” including white male founders/CEOs or “millennial messiahs,” “female fixers” that range from executives to silent service providers, and the “corporate board.” These figures are important because they circulate across fictional and non-fictional contexts and become a means by which publics make sense of the power relations of tech startups. Even as these shows center on the trials and tribulations of egomaniacal, power-hungry CEOs, they raise crucial questions about corporate corruption, gender/racial discrimination, and labor exploitation in the tech workplace and challenge viewers to reckon with the unchecked power of the big US technology companies.
千禧年救世主,女性调停者和公司董事会
本文探讨了电视剧如何作为美国科技创业公司职场权力动态的文化论坛。以限定剧《Super Pumped》和《WeCrashed》为重点,作者分析了种族、阶级和性别/性取向的关系如何通过几个“人物”出现在这些叙事化的科技世界中,这些“人物”包括白人男性创始人/首席执行官或“千禧一代的救世主”,从高管到沉默的服务提供商的“女性调解者”,以及“公司董事会”。这些数字很重要,因为它们在虚构和非虚构的环境中流传,并成为公众理解科技初创企业权力关系的一种手段。尽管这些电视剧聚焦于利己主义、渴望权力的首席执行官们的考验和磨难,但它们提出了有关科技行业企业腐败、性别/种族歧视和劳动力剥削的关键问题,并挑战观众去思考美国大型科技公司不受约束的权力。
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来源期刊
FILM QUARTERLY
FILM QUARTERLY FILM, RADIO, TELEVISION-
CiteScore
0.40
自引率
40.00%
发文量
36
期刊介绍: Film Quarterly has been publishing substantial, peer-reviewed writing on motion pictures since 1958, earning a reputation as the most authoritative academic film journal in the United States. Its wide array of topics, perspectives, and approaches appeals to film scholars and film buffs alike. If you love all types of movies and are eager to encounter new ways of thinking about them, then Film Quarterly is the journal for you! Scholarly analyses of international cinemas, current blockbusters and Hollywood classics, documentaries, animation, and independent, avant-garde, and experimental film and video fill the pages of the journal.
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