IAFOR Journal of Media, Communication & Film最新文献

Memory Politics and Popular Culture – The Example of the United Red Army in the Manga Red (2006–2018) 记忆政治与大众文化——以《漫画红》中的联合红军为例(2006-2018)

IAFOR Journal of Media, Communication & Film Pub Date : 2019-08-01 DOI: 10.22492/IJMCF.6.1.05

Fabien Carpentras

{"title":"Memory Politics and Popular Culture – The Example of the United Red Army in the Manga Red (2006–2018)","authors":"Fabien Carpentras","doi":"10.22492/IJMCF.6.1.05","DOIUrl":"https://doi.org/10.22492/IJMCF.6.1.05","url":null,"abstract":"Serialized in a period of booming popular interest for the United Red Army (URA), Red (2006– 2018) by manga artist Yamamoto Naoki (1960–) is to this day the most thoroughly detailed and researched work of fiction drawing on the famous Japanese terrorist group. In the present article, we would like to address how Yamamoto is fully engaged in a memory struggle regarding the “truth” of the historical event – he has been active in the “Association to transmit the overall picture of the United Red Army incident,” a group involved in the gathering and publishing of testimonies surrounding the incident, bringing to the fore until then unknown and neglected details of the URA. And yet, serialized in the seinen manga magazine Evening, Red constitutes at the same time a genuine piece of popular culture, fostering narrative and visual devices aimed at a large audience (for instance, all the characters appear with false and dramatized names – Nagata Hiroko becoming Akagi or “Red Castle” Hiroko – and the ideological motivations are all downplayed in favor of more sanitized and universal ones). By so doing, Yamamoto succeeds in reshaping the popular memory of the URA, but we argue that this reworking is made at the expense of the political and social background of the organization, with the result of hindering our social and historical understanding of this foundational event of contemporary Japan politics.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126850375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Falling for the Amphibian Man: Fantasy, Otherness, and Auteurism in del Toro’s The Shape of Water 爱上两栖人:德尔·托罗的《水形物语》中的幻想、异类和导演主义

IAFOR Journal of Media, Communication & Film Pub Date : 2019-08-01 DOI: 10.22492/IJMCF.6.1.03

A. Adji

{"title":"Falling for the Amphibian Man: Fantasy, Otherness, and Auteurism in del Toro’s The Shape of Water","authors":"A. Adji","doi":"10.22492/IJMCF.6.1.03","DOIUrl":"https://doi.org/10.22492/IJMCF.6.1.03","url":null,"abstract":"Guillermo del Toro’s reputation as one of the world’s most esteemed filmmakers builds on fairy tale and horror-inspired films featuring monsters, such as Hellboy (2004) and Pan’s Labyrinth (2006). Not only is del Toro’s obsession with the fantasy genre often emphasized, it also incorporates the theme of embracing otherness, which is demonstrated through the allegory of monstrous entities in most of his works. As a Mexican director, del Toro strives to insert his status as “the other” in his movies. This article addresses Guillermo del Toro’s 2017 Oscar-winning film, The Shape of Water, through auteur theory with references to fantasy film principles. In a range of aspects, from visual style to its rooted themes, del Toro’s films make use of a distinctive set of features with dark green colour, special effects makeup, as well as the theme of resistance against oppression and marginalisation. Using The Shape of Water as a case study, the argument is that the film serves as a critique as well as a defiance against the widespread issues of rising bigoted slurs, immigration bans and racial resentment in the United States, which have occurred ever since the victory of President Donald Trump in early 2017. Indeed, del Toro’s triumphs at the 90th Academy Awards have solidified the importance of fantasy films as counter-narratives.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125478354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Digital War of South Korean Netizens in New York City: From Tweets to a Billboard Advertisement, and an Alt-Right Online Community 纽约韩国网民的数字战争:从推特到广告牌广告，以及另类右翼网络社区

IAFOR Journal of Media, Communication & Film Pub Date : 2019-08-01 DOI: 10.22492/IJMCF.6.1.01

Hojeong Lee

{"title":"Digital War of South Korean Netizens in New York City: From Tweets to a Billboard Advertisement, and an Alt-Right Online Community","authors":"Hojeong Lee","doi":"10.22492/IJMCF.6.1.01","DOIUrl":"https://doi.org/10.22492/IJMCF.6.1.01","url":null,"abstract":"This study explores how people share their political perspectives within online communities, construct online discourses on social and political issues in digital spaces, and finally utilize offline venues to grow their base of supporters as a form of social movement. The researcher examines the events related to a series of birthday wish ads for the South Korean president in Times Square in 2018 and the responses of Ilbe, an alt-right online community, to the occasion. I use three lines of inquiry: 1) How did the Ilbe online community users facilitate online discussions in order to lead to offline social action? 2) Why did the Ilbe members create the advertisement in Times Square? and 3) What are the implications of the billboard within political and social contexts? By closely examining the recent digital confrontation among different online groups in South Korea, this project yields insights into understanding the current social movements based on digital media, and in particular, an alt-right group. The findings of this research demonstrate how social action can be mobilized based on online communication, and how faithfully the Ilbe community performs its role as a representative alt-right community of South Korea during the political turmoil. Finally, the current study articulates the relations between the digital world and physical space.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123989373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Internet and Activists’ Digital Media Practices: A case of the Indigenous People of Biafra Movement in Nigeria 网路与行动者的数位媒体实践:奈及利亚比亚夫拉原住民运动案例

IAFOR Journal of Media, Communication & Film Pub Date : 2019-08-01 DOI: 10.22492/IJMCF.6.1.02

E. S. Nwofe

{"title":"The Internet and Activists’ Digital Media Practices: A case of the Indigenous People of Biafra Movement in Nigeria","authors":"E. S. Nwofe","doi":"10.22492/IJMCF.6.1.02","DOIUrl":"https://doi.org/10.22492/IJMCF.6.1.02","url":null,"abstract":"Previous studies have highlighted some important contributions that participants’ digital activism play in the process of protest coordination and mobilisation. The literature suggests that individuals’ digital practices contribute to the dynamism of social movements’ actions for social and political change. Across Africa, there is limited literature examining how social actors use the internet or the variations in the use of the internet for socio-political activism. While many studies focused on leaderless mass actions across the world, few focused on social movement organisations, much less in Nigeria. Understanding of the variations in activist’s digital media practices is thereby limited, with the dynamics in the mobilising potentials of the internet in Nigeria under-explored. Second, most studies only focused on the empowering effects of the internet as the main variable, ignoring the concomitant impacts of activists’ media such as radio in the mobilisation efforts of social movements in Africa. This article attempts to fill this gap, by examining variations in IPOB protesters’ digital media practices and their levels of involvement in the Biafra independence struggle. The article aims to understand protesters’ digital support roles, motivations, constraints and sources of mobilising information. Using survey data (N = 113), the article argues that through protesters’ digital media practices in the services of the IPOB protests, complemented with the pervasiveness of Radio Biafra ideological programmes, the idea of Biafra was constituted and made visible in the Nigerian public sphere. Implications of the internet as the only alternative media for African social movements are discussed.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128820358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Black Struggle Film Production: Meta-Synthesis of Black Struggle Film Production and Critique Since the Millennium 黑人斗争电影制作:千年以来黑人斗争电影制作与批评的综合

IAFOR Journal of Media, Communication & Film Pub Date : 2019-08-01 DOI: 10.22492/IJMCF.6.1.04

R. Cummings

{"title":"Black Struggle Film Production: Meta-Synthesis of Black Struggle Film Production and Critique Since the Millennium","authors":"R. Cummings","doi":"10.22492/IJMCF.6.1.04","DOIUrl":"https://doi.org/10.22492/IJMCF.6.1.04","url":null,"abstract":"The film industry has historically wrestled with consistently producing representative and innovative Black American wide release feature length theatrical films. The limited quantity of films containing a majority Black cast and films with a Black protagonist allows for exploration of the similarities between such films. “Black struggle films,” films focusing on historic or overt racial, ethnic, or social challenges, appear to be one of the few sorts of films cast, led, and produced by Black American creatives. In addition, Black struggle films appear to be more critically acclaimed and recognized than any other sort of Black film. This investigation is part of a case study on the attributes and successes of Black struggle film production. This article focuses on budget, distribution, and other production variables of Black American films released in the last 20 years. Additionally, a meta-synthesis was performed comparing film critiques of one wide-released, theatrical Black struggle film with other Black films. Film critiques were analyzed using a thematic analytical method to identify themes about their production patterns. The findings of this study will allow media researchers to identify trends in Black American film production and influence producers to engage in strategic and representative production of films that document Black experiences.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131098136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Metaconsumption, Convergence and Stylization in the “Real” Teens of Laguna Beach 拉古纳海滩“真实”青少年中的元消费、趋同与风格化

IAFOR Journal of Media, Communication & Film Pub Date : 2018-08-17 DOI: 10.22492/ijmcf.5.1.05

M. Lascity

引用次数: 0

The Chronicle of Yerevan Days: Spatial Representation and Authentic Realism 埃里温时代编年史:空间表现与真实现实主义

IAFOR Journal of Media, Communication & Film Pub Date : 2018-08-17 DOI: 10.22492/IJMCF.5.1.04

S. Azatyan

{"title":"The Chronicle of Yerevan Days: Spatial Representation and Authentic Realism","authors":"S. Azatyan","doi":"10.22492/IJMCF.5.1.04","DOIUrl":"https://doi.org/10.22492/IJMCF.5.1.04","url":null,"abstract":"This article offers an insight into how space is represented in the feature film The Chronicle of Yerevan Days (Dovlatyan, 1972). I examine the film’s unmediated and minimally mediated spatial presentation of the actual city of Yerevan – its buildings and streets etc. I claim that, in narrating the fictional story, the mise-en-scène and cinematography emphasize the city’s spaces. The manner in which the buildings, streets, and squares are highlighted suggests that the city acts as an agent. I use Koppelhoff’s (2012) theory of “diegetic space,” Alter’s (2005) idea of “mythographer,” and da Costa’s (2015) notion of the urban environment as mise-enscène to argue that authentic realism arises from the deployment in real time of the city as an agent in The Chronicle of Yerevan Days. At the core of my argument lies the claim that the film’s narrative integrates objective documentary narration with fictional storytelling. The mise-en-scène and cinematography selectively represent details and fragments of city spaces and buildings, which equip the represented city with a certain agency. In this function, the city interacts with the human characters. My claim about authentic realism stems from the fact that the buildings, streets, and squares in the film are historically accurate in function. This creates for the viewer an intense familiarity. Also, by virtue of their historical and cultural values, the represented buildings and streets contextualize the story as Armenian, infusing a sense of authenticity into the characters and their actions.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125552744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Documenting the (Un)official Kevin Carter Narrative: Encyclopedism, Irrealism, and Intimization in House of Leaves 记录(联合国)官方凯文·卡特的叙述:《树叶之屋》中的百科全书式、非现实主义和亲密化

IAFOR Journal of Media, Communication & Film Pub Date : 2018-08-17 DOI: 10.22492/ijmcf.5.1.01

J. Polley

{"title":"Documenting the (Un)official Kevin Carter Narrative: Encyclopedism, Irrealism, and Intimization in House of Leaves","authors":"J. Polley","doi":"10.22492/ijmcf.5.1.01","DOIUrl":"https://doi.org/10.22492/ijmcf.5.1.01","url":null,"abstract":"Mark Z. Danielewski extends his critique of reliability – to the “destabilization” of “center” and “origin” and “totality” that Derrida famously exposes in “Structure, Sign and Play in the Discourse of the Human Sciences” in 1966 – to all of House of Leaves’ paratexts, even to the narratives readers traditionally approach non-ironically or -critically, like the copyright page, the index, the cover blurbs, and the footnotes. Danielewski’s much-studied encyclopedic 2000 novel features a mise-en-abyme of competing “narrators,” thus compelling readers to encounter every text in and about the main text with critical suspicion. This unconventional, formal remove, however, is apparent to any reader who simply thumbs through Danielewski’s text. Paradoxically, beneath this deconstructionist instability, the novel is anchored in a form of stability, namely connection. Protagonist Will Navidson is a Pulitzer Prize-winning photojournalist and documentary filmmaker modelled on actual Pulitzer Prize-winner (and 1994 suicide) Kevin Carter. At stake here is how Danielewski blurs classical boundaries between fact and fiction, between reality and its reportage, in order to reclaim a modernist centre based on “readerly” identification. Danielewski’s encyclopedia of the famous Carter photograph comes to un-complicate the complicated subject positions post-structuralism first exposed. Speaking to this un-complication of complication by way of the irrealism and intimization that recent documentary theory propounds, the article considers House of Leaves as a case study about belief. Realism, which documentary theory shows is all about artifice, has no affective bearing on belief. Belief, Danielewski illustrates, can transcend binaries like official-unofficial and fiction-nonfiction.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116494041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Whose Story is This? The Non-existence of the External Gaze in David Lynch’s Films 这是谁的故事?大卫·林奇电影中外部凝视的不存在

IAFOR Journal of Media, Communication & Film Pub Date : 2018-08-17 DOI: 10.22492/ijmcf.5.1.03

A. Favaro

{"title":"Whose Story is This? The Non-existence of the External Gaze in David Lynch’s Films","authors":"A. Favaro","doi":"10.22492/ijmcf.5.1.03","DOIUrl":"https://doi.org/10.22492/ijmcf.5.1.03","url":null,"abstract":"The tendency to eschew a coherent narrative has been very common especially since the 1990s and a certain approach to narration has become observable within postmodern cinema: the viewer is denied access to the truth and realities concerning dramatic structure and characters, either during part of the narrative, or throughout the entire movie. For instance, Stuart Mitchell (1999) points out that in David Lynch’s Lost Highway, as Lynch himself points out, the dream/dreaminess is neither a fantasy nor a delusion but something intrinsic to the character, thus what we watch is essentially the story of the main character and it is realistic according to his logic. Analysing the David Lynch’s Lost Highway (1997), Mulholland Drive (2001) and Twin Peaks: The Return (2017), this article will discuss how any attempt by the viewer to achieve the truth and to distinguish reality from fantasy may be fruitless and how the filmic or fictional reality may result undistinguishably from so-called material reality. I argue that the viewer moves and stumbles with the gaze of the camera which reveals that the reality is something constructed, and that the objective reality of an external gaze doesn’t exist.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126562545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Reality of Trap: Trap Music and its Emancipatory Potential 陷阱的现实:陷阱音乐及其解放的潜力

IAFOR Journal of Media, Communication & Film Pub Date : 2018-08-01 DOI: 10.22492/IJMCF.5.1.02

J. Kaluža

{"title":"Reality of Trap: Trap Music and its Emancipatory Potential","authors":"J. Kaluža","doi":"10.22492/IJMCF.5.1.02","DOIUrl":"https://doi.org/10.22492/IJMCF.5.1.02","url":null,"abstract":"The reality that has been presented in rap music and its celebrity culture has always been connected with two extremes: the reality of the “thug” life of the streets on the one hand and with a specific sort of “American Dream” reality that presents climbing from bottom to top on the other hand. This article explores the reasons why trap music, which originated as a type of rap music in the south of the USA, is now with its specific mixture of hedonism and nihilism, darkness and joy, becoming the music of our times. It argues that this is not a coincidence: the two-fold reality, the cruel reality of living “in a trap” on the one hand and the idealized, dreamy reality full of gold and diamonds on the other hand, is the main allegory of “real” life in late capitalism. How to get out of the trap? In the article, I investigate some crucial problems of contemporary theory regarding class and racial differences and argue that we can extract farreaching social, political, and theoretical statements through interpretation of music that is often presented as apolitical, vacant, and of poor quality. Interpretation of contemporary development in pop culture will be combined with readings of theorists such as Foucault, Mbembe, Balibar, Marx, Moretti, and Deleuze and Guattari. I argue that identification with trap music, even if it seems conformist and non-critical, is producing paradoxical minoritarian universalism, that could, if we understand the universalization of a dream of individual success as an implicit request for egalitarian society, present certain emancipatory potential.","PeriodicalId":413069,"journal":{"name":"IAFOR Journal of Media, Communication & Film","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128556751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 10