Critical Studies in Media Communication最新文献_第6页

Stonewall forever: queer monumentality in the age of augmented reality 永远的石墙:增强现实时代的酷儿纪念性

2区文学

Critical Studies in Media Communication Pub Date : 2023-10-24 DOI: 10.1080/15295036.2023.2268698

Joe Edward Hatfield

{"title":"Stonewall forever: queer monumentality in the age of augmented reality","authors":"Joe Edward Hatfield","doi":"10.1080/15295036.2023.2268698","DOIUrl":"https://doi.org/10.1080/15295036.2023.2268698","url":null,"abstract":"ABSTRACTIn this article, I examine Stonewall Forever, a mobile augmented reality (AR) application developed by Google and the U.S. National Parks Service, that superimposes computer-generated imagery into users’ lines of vision to shape public memories of the Stonewall National Monument. I argue the app functions rhetorically as a visual-material chronotope because it spatiotemporally reorients visions toward otherwise hidden contexts in which multiply marginalized people acted as primary agents in the events surrounding the Stonewall riots. However, even as the app renders visible the contributions of minoritized communities in a landmark moment in LGBTQ + history, it repackages the bodies of now deceased trans of color revolutionaries as icons within a homonationalist frame, obscuring the ongoing callousness of a nation-state that has yet to provide systemic protections for the very identities it memorializes. My criticism of the app focuses on how institutional powers may leverage emerging visual media to generate more inclusive historical storylines as a technique for both managing changing cultural expectations regarding representational diversity and to serve national interests, a nascent but nonetheless profound effect of the gradually coalescing domains of queer monumentality and official U.S. commemorative traditions.KEYWORDS: Digitalarchivepublic memorychronotopehomonationalism Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135315928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Post-racial politics and the mandate to desire: interracial love as liberation in Bridgerton 后种族政治与欲望的授权:布里杰顿的跨种族之爱作为解放

2区文学

Critical Studies in Media Communication Pub Date : 2023-10-05 DOI: 10.1080/15295036.2023.2251544

William Joseph Sipe

{"title":"Post-racial politics and the mandate to desire: interracial love as liberation in <i>Bridgerton</i>","authors":"William Joseph Sipe","doi":"10.1080/15295036.2023.2251544","DOIUrl":"https://doi.org/10.1080/15295036.2023.2251544","url":null,"abstract":"ABSTRACTShonda Rhimes’ latest televisual sensation updates her post-racial and post-feminist fantasies for a post-Trump world. Discarding her trademark colorblind casting, Bridgerton confronts racial tensions and gender disparities within a fanciful reimagining of the aristocracy of colonial Britain. Yet, in a move familiar to longtime viewers of Shondaland, the means of resistance to such injustice is gratuitous displays of interracial relationships. Bridgerton constructs a historical fantasy that centers authentic love and desire as the exclusive mechanism for constructing a post-racial and post-feminist society. Through love, the English aristocracy is transformed into a permissive, racially inclusive matriarchy wherein one’s duty is to live and love authentically. While previous scholarship has contextualized Rhimes’ work within neoliberalism, I argue that the racial and gendered politics of Bridgerton are more adeptly understood through Fisher’s theory of capitalist realism, which describes contemporary capitalism’s investment in mystifying authority and equating authentic consumption with identity construction.KEYWORDS: Post-racial politicspost-feminist politicscapitalist realismtelevisionpopular culture Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134947093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Neo-Ottoman cool west: the drama of Turkish drama in the Bulgarian public sphere 新奥斯曼酷西:保加利亚公共领域的土耳其戏剧

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-09-01 DOI: 10.1080/15295036.2023.2249079

Yasemin Y. Celikkol, Marwan M. Kraidy

引用次数: 0

And Just Like That … misogyny reigns supreme: disciplining womanhood in the critical framings of Sex and the City’s new chapter 就像这样，厌女症占据了至高无上的地位:在《欲望都市》新篇章的关键框架中，女性受到了约束

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-30 DOI: 10.1080/15295036.2023.2249541

Michael Brewer

引用次数: 0

Containing visions of justice: on the assimilation, alienization, and disappearance of Black Lives Matter in Scandal’s “The Lawn Chair” 蕴含着正义的视野:论《草坪椅》中黑人生命的同化、异化与消失

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-30 DOI: 10.1080/15295036.2023.2249077

Abigail N. Burns

引用次数: 0

Platforming inclusion at U.S. media industry events: confronting Hollywood’s lack of representational diversity 美国媒体行业活动的平台包容性:面对好莱坞代表性多样性的缺乏

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-08 DOI: 10.1080/15295036.2023.2245440

Brad Limov

{"title":"Platforming inclusion at U.S. media industry events: confronting Hollywood’s lack of representational diversity","authors":"Brad Limov","doi":"10.1080/15295036.2023.2245440","DOIUrl":"https://doi.org/10.1080/15295036.2023.2245440","url":null,"abstract":"ABSTRACT Incremental structural adjustments define attempts to advance representational diversity in Hollywood. This essay considers U.S. media industry events as catalysts for change. Using the 2020 Austin Film Festival and Writers Conference as a case study, I examine how attendees platformed the topic of inclusion after summer protests reignited calls for equity throughout media industries. Participant observation across the festival's virtual spaces locates my critical deconstruction of four panels wherein representation of historically underrepresented groups, including Black, Indigenous, and other people of color (BIPOC), was a focal point. Although the festival did not overtly engage with the political moment, it platformed people who did. Conversations on craft fed into a ubiquitous conference concern with “truth” in storytelling, foregrounding sociohistorical contexts and individual specificities when representing diverse experiences, and highlighting positionality when empowering writers to tell their stories. Despite the constraints of dominant production norms, events enable underrepresented groups and their allies to shape industry discourses.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74303352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Fan-Based citizenship in “Mary Poppins Quits”: fannish affect, public affect, and the potential for solidarity 《玛丽·波平斯辞职》中的粉丝公民权:粉丝效应、公众效应和团结的潜力

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-08 DOI: 10.1080/15295036.2023.2249082

Ashley Hinck

{"title":"Fan-Based citizenship in “Mary Poppins Quits”: fannish affect, public affect, and the potential for solidarity","authors":"Ashley Hinck","doi":"10.1080/15295036.2023.2249082","DOIUrl":"https://doi.org/10.1080/15295036.2023.2249082","url":null,"abstract":"ABSTRACT On July 23, 2014, the fiftieth anniversary of Disney’s Mary Poppins, Funny or Die released a video titled, “Mary Poppins Quits with Kristen Bell,” earning more than 4 million views. In the video, Mary Poppins sings to the tune of “A Spoonful of Sugar” while calling for an increase to the federal minimum wage. Understanding fan-based citizenship performances like “Mary Poppins Quits” requires understanding how affect moves between popular culture, fans, and citizens. I argue that Mary Poppins functions as a figure that conducts affect across and between fan-citizens, calling on fans to treat minimum wage workers through the same affective orientation with which they treat Mary Poppins. To make this argument, I draw on work in fan studies and rhetorical studies to define fannish affect and public affect. Turning to my analysis of the “Mary Poppins Quits” video, I argue the video conducts affect through celebrity personae, destabilizes the “worthiness” discourse that often frames minimum wage workers as unworthy of a higher wage, and demands new orientations to one’s fellow citizens. Ultimately, I argue that moving affect from popular culture objects to the public sphere opens up new opportunities for solidarity but carries limitations as well.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81034351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Queer failure in Freddy’s Revenge and Scream, Queen! A documentary’s recuperation of Elm Street’s queer memory 《弗雷迪的复仇》和《尖叫吧，女王!》一部关于榆树街怪诞记忆的纪录片

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-08 DOI: 10.1080/15295036.2023.2245437

Ragan Fox

引用次数: 0

Black monstrosity and the rhetoric of whiteness in Disney’s Zombies trilogy 迪士尼僵尸三部曲中的黑色怪物和白色修辞

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-08 DOI: 10.1080/15295036.2023.2244574

Linsay M. Cramer, Gabriel A. Cruz

{"title":"Black monstrosity and the rhetoric of whiteness in Disney’s Zombies trilogy","authors":"Linsay M. Cramer, Gabriel A. Cruz","doi":"10.1080/15295036.2023.2244574","DOIUrl":"https://doi.org/10.1080/15295036.2023.2244574","url":null,"abstract":"ABSTRACT Drawing from strategic whiteness and guided by racial rhetorical criticism, this article analyzes Disney’s Zombies movie trilogy. Situated within the context of anti-Critical Race Theory policies and the use of children and K-12 education as political pawns, the timely release of Zombies as a postracial narrative motivates this research. Through the positioning of humans, zombies, werewolves, and aliens as fixed symbolic racial groups within the imagined utopian United States town of Seabrook, Zombies presents an ideology of diversity, equity, and inclusion (DEI) that sustains white power and fluidity. This rhetorical analysis presents three conclusions. First, the imaginary utopian town of Seabrook is a postracial space developed around stereotypical racialized characters and narratives that contribute to the historical marginalization of Indigenous, Asian American and Pacific Islander (AAPI), and Black people. Second, through the protagonist Zed and the cinematic construction of zombies, the trilogy perpetuates a postracial anti-Blackness via the inscription of a policed and controlled monstrosity onto Black identity. Third, the second protagonist, Addison, engages in the propagation of whiteness via voyeuristic racial tourism and white purity. In total, the children’s mediated narrative upholds white centrality and power obviated by contemporary DEI discourses and representations.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85245469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The right to believe: constructions of white Christian victimhood in the God’s Not Dead series 信仰的权利:《上帝未死》系列中白人基督徒受害者身份的建构

IF 1 2区文学

Critical Studies in Media Communication Pub Date : 2023-08-08 DOI: 10.1080/15295036.2023.2249076

Courtney J. Dreyer

引用次数: 0