Critical Studies in Media Communication最新文献

{"title":"From whence we came and where we are going: the editors’ introduction","authors":"Rachel Griffin, Kimberly R. Moffitt","doi":"10.1080/15295036.2023.2207312","DOIUrl":"https://doi.org/10.1080/15295036.2023.2207312","url":null,"abstract":"Much can be said about the far-reaching impact of the COVID-19 pandemic: omnipresent threats to democracy in the U.S. and abroad; global surges of anti-Semitic, racist, and white supremacist violence; steadily unfolding consequences of the contentious 2020 U.S. presidential election; and nefarious upticks in anti-LGBTQIA+ bills, policy, and laws. Increasingly characterized by polarization and fragmentation, our cultural landscape offers a great deal to reflect upon, question, mourn, and resist. Yet, there are also glimmers of hope and societal transformation lighting our path forward. Gen Z has proven itself highly effective at utilizing social media to raise climate change awareness and impact policy; artificial intelligence, including ChatGPT, has the potential to generate new solutions to some of humanity’s oldest problems; and the stories told by Indigenous and women of color filmmakers continue to gain prominence. Turning our attention inward, the National Communication Association (NCA) has transformed what began as shining moments worthy of celebration into material achievements that re/shape our discipline. Foremost is Dr. Shari Miles-Cohen’s competitive selection as NCA’s Executive Director, the first African American woman to serve in this role. Since 2013, when the IDEA Council became part of the executive leadership structure, NCA has consistently leveled up its prioritization of inclusion, diversity, equity, and access (IDEA) throughout the organization. Recent efforts include remedying exclusionary awards practices, welcoming three new caucuses as interest groups (Caribbean Communication; Indigenous; and South West Asian/North African, Middle East), and further diversifying its journal editorships and editorial boards. The lack of intersectional diversity represented among journal editors and editorial boards can be traced back to the origination of 11 of NCA’s 12 journals. Recounted in the 2021 IDEA Task Force Report, NCA formally acknowledged exclusionary barriers in our discipline’s publication processes via the 1988–1990 Speech Communication Association Taskforce on Affirmative Action. In 2018, scholar–activists led a renewed call to remove structural barriers that discourage scholars of color and Others who identify with marginalized populations from applying and/or earning these appointments (Inclusion, Diversity, Equity, and Access Strategic Planning Task Force [IDEA], 2022a, p. 1; see also IDEA, 2022b). NCA’s newest journal, Communication & Race, acknowledges and addresses our discipline’s need to “counteract the ongoing exclusions of scholars and scholarship related","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89563895","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}

{"title":"Review of LGBTQ Visibility, Media and Sexuality in Ireland","authors":"J. Walsh","doi":"10.1080/15295036.2023.2186458","DOIUrl":"https://doi.org/10.1080/15295036.2023.2186458","url":null,"abstract":"deconstruction of sexuality, race, and gender and the rise of reality television. She maintains that reality television evolved to feed a consumer culture in which societal taboos are set aside in favor of selling sex and violence. Dedicating an entire chapter to reality television meeting reality, Bordo traces reality television’s evolution from documentary-style programming to the current bombastic, violent, and sex-fueled programming, characteristics also representative of Trumpism. Within this context, Trump became the U.S.’s first reality television President. In response, Bordo quips, “It’s left to the fictional side of television to adequately represent our reality— which ironically doesn’t feel like reality anymore at all” (p. 132). This statement is significant given the notable disconnect from reality that was at one time prevalent on U.S. television. For example, with its idyllic settings, lack of diversity, and reinforcement of the patriarchy, 1950s and 1960s television sitcoms contradicted a social context that included the Civil Rights and Women’s Movements and Vietnam War. For those who grew up during the golden age of television (1948–1959) and/or study television, TV (Object Lessons) will be an enjoyable and valuable read. Readers in the first category might revel in revisiting the programming of their youth, while researchers and academics might find the brief history of television in the U.S. useful. As a self-described popular culture fiend who dedicated her life to the field, Bordo adeptly weaves together the stories of how television evolved, changed the country’s social and cultural norms, and gave rise to Trump. Through TV (Object Lessons), Bordo’s long relationship with television offers insight into the current political climate in the U.S. However, as one person’s experience with television, this book does not serve as (nor is it intended to be) a robust or scholarly account of the media.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80158813","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}

{"title":"Leaks and lawfare: adding a Legal Filter to Herman and Chomsky’s propaganda model","authors":"A. Hyzen","doi":"10.1080/15295036.2023.2204169","DOIUrl":"https://doi.org/10.1080/15295036.2023.2204169","url":null,"abstract":"ABSTRACT Motivated by the conundrum “when does the law make it illegal to reveal illegal activity?”, this article explores the relationship between legal structures and the free flow of information by adding a Legal Filter to the Propaganda Model. The Legal Filter represents how elite powers use legal constructions to block information from mainstream media through three layers: Undisclosed Information, Lawfare, and Legal Standing. The addition of a Legal Filter compliments and strengthens current discussions about informational and surveillance capitalism, mis/dis/malinformation proliferation and understanding the growing number of internet information leaks and “hack and dumps.” (Herman, E. S., & Chomsky, N. 1988. Manufacturing consent: The political economy of the mass media. Pantheon).","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83912618","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}

{"title":"Black Frankenstein in D’Souza’s 2016: Obama’s America","authors":"Michael G. Lacy","doi":"10.1080/15295036.2022.2147972","DOIUrl":"https://doi.org/10.1080/15295036.2022.2147972","url":null,"abstract":"ABSTRACT This essay offers a critical rhetorical analysis of neoconservative filmmaker Dinesh D'Souza's popular political documentary film, 2016: Obama's America. I argue that the documentary's narrative emulates conservative Black Frankenstein stories, whereby a monstrous black slave revolts against his white slave owner, justifying a violent white backlash to restore white supremacy [Young, E. (2008). Black Frankenstein: The making of an American metaphor. New York: New York University Press]. Obama's America re-presents overt and inferential antiblack racist caricatures that depict President Obama as a ruling mixed mulatto monstrosity determined to destroy America. I argue that D'Souza's documentary aimed to revive extreme white conservative resistance to Obama's presidency, specifically by equating Obama's 2012 re-election with America's looming economic collapse and escalating threats of Islamist terrorism. To deflect racist accusations, D'Souza adopts a journalistic persona and re-presents a colonial narrative, which suggests that racism and colonialism no longer exist, thereby sanitizing and idealizing contemporary America neocolonialism. Finally, I argue that the popular conservative depictions of Obama as a menacing mulatto monster destroying America were precursors of a white backlash against America's first black U.S. president and his multicultural coalition, culminating in Donald Trump's presidential victory in 2016.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78123232","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}

{"title":"Imagining the thoughtful home: Google Nest and logics of domestic recording","authors":"C. White, James N. Gilmore","doi":"10.1080/15295036.2022.2143838","DOIUrl":"https://doi.org/10.1080/15295036.2022.2143838","url":null,"abstract":"ABSTRACT The Google Nest home security system offers an array of cameras, sensors, and Internet-connected devices to allow homeowners to monitor and record the exterior and interior of their home and automate various functions of heating and cooling, lights, and other appliances through smartphone application control panels. This article analyzes how Google has worked to construct an imaginary around Nest through advertising and company blog posts from 2015 to 2021. Extending the extractive economies of Google’s search engine and other products to understand Nest cameras, we analyze how Google has positioned Nest as a device for both control and convenience within the home. Control suggests to homeowners that this system gives them greater capacity to secure their home, but only if they are willing to constantly engage the Nest system and allow Google to extract data from the home automatically. Convenience suggests that Nest allows easy, automated, and passive recording to capture things that happen within the home throughout the day. Through this analysis, we demonstrate how imaginaries around emergent smart home technologies purposefully mask the ways they give companies like Google the ability to extract data from the home.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82692878","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}

{"title":"Performing #MeToo: How not to look away","authors":"Yasamin Rezai","doi":"10.1080/15295036.2022.2079159","DOIUrl":"https://doi.org/10.1080/15295036.2022.2079159","url":null,"abstract":"","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77785076","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}

{"title":"Casting heroes and victims of disaster events: representations of race and gender in Hurricane Harvey front page news images","authors":"E. Figueroa","doi":"10.1080/15295036.2022.2121412","DOIUrl":"https://doi.org/10.1080/15295036.2022.2121412","url":null,"abstract":"ABSTRACT Mainstream press coverage of public disaster events produce mythological narratives of heroism, sacrifice and authority. Press coverage of Hurricane Harvey in the late summer of 2017 proved to be an important historical moment in disaster coverage. A visual textual analysis of 106 front page photos of newspapers from August 28, 2017, to September 4, 2017 was conducted. The results show that news media represented people of color as displaced migrants and women as damsels in distress, while white men were represented as saviors and caretakers who brought order back to the chaos surrounding the storm’s social impact in the Houston community.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74273054","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}

{"title":"Indigenous Hitmakerz in the Arctic: negotiating local needs with global ambitions within commercial music industries","authors":"Ashley Cordes, Christopher A. Chávez","doi":"10.1080/15295036.2022.2121413","DOIUrl":"https://doi.org/10.1080/15295036.2022.2121413","url":null,"abstract":"ABSTRACT Although music by Inuit peoples is systematically relegated to the margins, recent artists from Nunavut have garnered limited commercial attention. Using a case study approach with critical political economy theoretical grounding, we focus on Hitmakerz, an independent record label based in the Arctic region of Nunavut. We analyze the ways independent music producers negotiate the commercial music system, specifically the symbolic and economic tensions, to promote Indigenous languages and counterhegemonic discourse. We argue that Hitmakerz has successfully negotiated local needs while pursuing global ambitions, strategically blending Inuktitut, colonial languages, pop, electronic, and rap for subversive purposes, and critiquing colonialism in digital forms produced in local environments and exported globally. Under limited conditions, Indigenous artists can exploit the marketplace to their advantage, as demonstrated by Hitmakerz.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89497534","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}

{"title":"Swedish Cold War history on YouTube – committed amateurs and heritagization from below","authors":"Christian Widholm","doi":"10.1080/15295036.2022.2121411","DOIUrl":"https://doi.org/10.1080/15295036.2022.2121411","url":null,"abstract":"ABSTRACT This study explores the meaning-making of amateur videos on YouTube pertaining to the Swedish Cold War heritage and it contributes with a discussion on how videographic conventions and social media platform logics intervene in the ongoing informal heritagization of the Cold War era. The heritagization process of the Cold War remains in Sweden during the 1990s and the beginning of the new millennium coincided with the advent of the online society. The process seemed to resonate of the democratic ideals from the discourse of Heritage from below. Now it seemed like anyone had the possibility to become a heritage producer. However, heritagization from below came with unintended implications. The analysis of YouTube videos in this study suggests that the vernacular Cold War heritage is colored by an easily digested format containing of moving still pictures, mood-inducing soundtracks, luring camera perspectives, rhythmic editing, and genre loans from video games and horror films, which tend to safeguard the naturalness of filmed sites and an entire era.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74744754","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}

{"title":"A not so special episode: laughing at abortion on television","authors":"Corinne Weinstein","doi":"10.1080/15295036.2022.2099562","DOIUrl":"https://doi.org/10.1080/15295036.2022.2099562","url":null,"abstract":"ABSTRACT The Supreme Court’s decision to overturn Roe v. Wade has led many states to ban or severely limit abortion access, leaving women seeking reproductive healthcare more vulnerable than they have been in decades, especially marginalized women. Legal restrictions, alongside socioeconomic barriers and cultural stigmas around abortion, are reinforced by media representations that depict abortion as dramatic and solemn, and women who obtain abortions in negative terms. Since 2015, depictions of abortion on television have increased significantly, including on comedic television, which had rarely addressed the topic in years prior. The following article explores how 11 recent comedy television programs have chosen to tell stories about a major character obtaining an abortion and considers what these stories may have to offer in applying comedy to a social issue that has typically been treated with solemnity by the media.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86760981","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}