Sociology Lens最新文献

This paper is a debate on why Bourdieusian scholars have never fully embraced the “Introduction/Literature review/Data & methods/Results/Discussion” (ILDRD) article format which is mainstream in North American Sociological publications. This paper attempts to argue that Pierre Bourdieu, Jean-Claude Chamboredon, and Jean-Claude Passeron developed a different writing format – inspired by Gaston Bachelard's “applied rationalism” -- and which became more influential among French scholars. The Bourdieu inspired different writing patterns and reasoning, I argue, can be traced in the flagship journal Actes de la Recherche en Sciences Sociales. This paper invites further debate on the differences in approaching article formats in the social sciences.

This paper analyzes how a structure of Weberian rational domination has been built and consolidated in Spain since 1959, the year when the so-called Economic Stabilization Plan was approved. This sort of economic constitution represents one of the most important foundations of a technocratic regime that survived the death of a dictator (General Francisco Franco), not only transcending the traditional differentiations between autocratic and democratic regimes but also offering a different perspective to the debate about the degree of continuity and rupture attained by the Spanish political transition in the 1970s. We analyze the institutions, leadership, most influential networks, political discourse, and historical myths through a theory of power and elites to examine the Spanish case. With this remarkable example of structural transformation and institutional resilience over decades, we also propose a more complex and multidimensional approach that could be fruitful to understanding some of the problems of political representation that current democracies are undergoing.

Alfred the Great, the ninth-century King of Wessex, has been a popular subject of media representations, including scenes focused on his childhood. These representations, from paintings to contemporary Netflix series and fanfiction, have created an imagined past for Alfred that has contributed to his legendary status. This article seeks to explore the media representations of Alfred as a child, and the stories, themes, and messages conveyed in different mediums, with a special focus on 21st century online fan cultures.

Estibaliz Urresola Solaguren, born on May 4, 1984, in Llodio, Álava, is a film director, screenwriter, and producer from the Basque Country, Spain. Her works include the documentary “Voces de papel” (2016) and the short film “Cuerdas” (2022). However, it is her first feature film, “20,000 species of bees” (2023), that earned widespread acclaim and won awards at various film festivals. This film delves into the challenges faced by a family with a transgender girl, drawing inspiration from the tragic story of Ekai Lersundi. Urresola's aspiration was to evoke empathy for the struggles of transgender individuals, fueled by the hope for societal change. The film's compelling narrative revolves around 8-year-old Cocó's journey of self-discovery, challenging societal expectations and prompting his mother, Ane, to confront her own doubts and fears during a transformative summer spent with family.

This paper describes the making of a documentary film about children's learning cultures in West Africa to show that it is possible to escape the melodramatic gaze through deploying specific shooting, editorial and screening choices that represent children as active, knowledgeable subjects situated in a specific cultural milieu. It also discusses the legacy of ethnographic film, especially in relation to Africa, which in its aim at cultural translation presumes a non-local spectator and deploys what has been called an entomological gaze; glossed here as ‘national geographic’ and proposes that key to disavowing that legacy is making film for African audiences.

This paper analyzes why child film star series produced by major French production companies (Pathé, Gaumont, Eclectic, and Éclair) in the early 1900s (Bébé, Bout-de-Zan, Willy, and the Maria Fromet series) were received with such interest by global audiences. This period, prior to World War I, was a brief era when French cinema held significant hegemony worldwide, before Hollywood's dominance began. There are ideas suggesting that child film stars emerged with American cinema. Contrary to this, however, French producers competed fiercely in the 10 years following 1906, producing series featuring child film stars. Substantial budgets were allocated for the marketing of these series, ultimately gaining a considerable fan base not only in Europe but also in America. When examining these film stars from the early 20th century within their historical context, they emerge as the first international child stars with international fame and financial success, unlike child musicians, vaudeville artists, and theater actors from the 18th and 19th centuries. Inspired by the field analysis of French sociologist Pierre Bourdieu, this article aims to establish a connection between the struggles within the field and the symbolic needs of the audience as reflected in the content of child star films. The films were viewed at the Eye Film Museum archive.

This article examines the issue of child labor exploitation on YouTube through the phenomenon of “kidfluencers” - children who create video content and gain a large following on the platform. It discusses kidfluencing within the framework of digital capitalism and platform capitalism, where companies monetize users' data. While kidfluencing can allow children to be creative and gain income, it also risks exploiting their labor and compromising their privacy and well-being. The article analyzes several popular kidfluencer YouTube channels and finds that some children are producing content in a way that resembles intense work. It highlights how digital capitalism leads to the commodification and alienation of digital labor. While kidfluencers benefit platforms and brands through promotion, they may not receive fair compensation for their efforts. The involvement of parents also raises issues about children's autonomy and protection. Overall, the article argues that while kidfluencing seems like casual play, in some cases it amounts to a hidden form of child labor that fails to uphold children's rights. It calls for stronger regulations to ensure kidfluencers are not subject to exploitation of their immaterial labor.

John D. Brewer’s (1994) seminal study of the South African Police claimed that structural factors would inhibit democratic reforms in law enforcement agencies, regardless of which political party controlled the public administration. Thirty years of majority rule, and a series of subsequent works (Altbeker 2005, 2007; Steinberg, 2008; Lamb 2018), demonstrate that Brewer’s thesis remains relevant. Occasional efforts at fully reconstructing state security agencies never took hold and the South African Police Service remains mired in the sordid practices of its colonial past. McMichael and Brown concur with this established narrative while Shaw’s study on vigilantism adds insightful subtleties that deromanticize subaltern social movements. All three authors tackle sharp distinctions between policing and criminality, arguing that the two processes often intertwine and are frequently interchangeable. This review article combines structural determinants of coercive law enforcement with elite political agency. Political choices made by South Africa’s ruling African National Congress reinforce criminal practices in policing and precipitate the formation of volatile vigilante organizations.