Pub Date : 2023-06-12DOI: 10.1177/01634437231179348
Geoffrey Hobbis, Marc Esteve-del-Valle, Rashid Gabdulhakov
It is time for a rural turn in media studies. Media studies are deeply imbricated in urban life. It is where most universities are located. It is where many media scholars live and work. Media workers, too, predominately exist in the urban – at least for now. Embedded in these urban settings, media studies have too often focused on urban perspectives and considered rural dimensions largely from a ‘divides’ perspective, wherein the rural has somehow less than the urban; or media studies have treated the rural as seemingly utopic areas evoking the idyllic and romantic where city dwellers travel or the wild is preserved. But the rural is more than that. Key works on media in the rural do exist but the field lacks articulation. This article is a step towards addressing this weakness. Drawing on examples from three rural areas, those of Europe, Central Asia and Oceania, this article shows how rural media studies have the capacity to question ‘common sense’ assumption in media research and to demonstrate the complexities of contemporary mediascapes. The problems we see include issues of mediated representation and perception, issues of communication and the myriad of societal challenges that come, in particular, with digital transformations.
{"title":"Rural media studies: making the case for a new subfield","authors":"Geoffrey Hobbis, Marc Esteve-del-Valle, Rashid Gabdulhakov","doi":"10.1177/01634437231179348","DOIUrl":"https://doi.org/10.1177/01634437231179348","url":null,"abstract":"It is time for a rural turn in media studies. Media studies are deeply imbricated in urban life. It is where most universities are located. It is where many media scholars live and work. Media workers, too, predominately exist in the urban – at least for now. Embedded in these urban settings, media studies have too often focused on urban perspectives and considered rural dimensions largely from a ‘divides’ perspective, wherein the rural has somehow less than the urban; or media studies have treated the rural as seemingly utopic areas evoking the idyllic and romantic where city dwellers travel or the wild is preserved. But the rural is more than that. Key works on media in the rural do exist but the field lacks articulation. This article is a step towards addressing this weakness. Drawing on examples from three rural areas, those of Europe, Central Asia and Oceania, this article shows how rural media studies have the capacity to question ‘common sense’ assumption in media research and to demonstrate the complexities of contemporary mediascapes. The problems we see include issues of mediated representation and perception, issues of communication and the myriad of societal challenges that come, in particular, with digital transformations.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75184764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-12DOI: 10.1177/01634437231179351
Marta Roqueta-Fernàndez, Sofia P. Caldeira
Since its re-emergence in 2017, the #MeToo movement has been adopted across the globe. #MeToo has a transnational dimension, transcending its initial US context and placing international issues alongside national concerns. This article aims to contextualize and situate #MeToo, providing a critical review of the movement in two local contexts – Catalonia (Spain) and Portugal. The analysis is grounded on empirical observations on social media, drawing as well on previous scholarship on the topic produced both internationally and in the contexts of study, and on the engagement with relevant national media sources. By focusing on national expressions of #MeToo in Portugal and Catalonia, this article explores how #MeToo took shape in (and was shaped by) the local contexts and existing feminist practices. It presents the different temporalities and dynamics of the movement in these two contexts, exploring the roles of both social media and traditional press in the local developments of #MeToo, and also briefly exploring the local legislative implications of the movement. This article thus presents #MeToo as common and easily recognisable frame used in local contexts to approach different issues of sexual and gendered violence, yet flexible enough to allow for national specificities.
{"title":"Situating #MeToo: a comparative analysis of the movement in Catalonia and Portugal","authors":"Marta Roqueta-Fernàndez, Sofia P. Caldeira","doi":"10.1177/01634437231179351","DOIUrl":"https://doi.org/10.1177/01634437231179351","url":null,"abstract":"Since its re-emergence in 2017, the #MeToo movement has been adopted across the globe. #MeToo has a transnational dimension, transcending its initial US context and placing international issues alongside national concerns. This article aims to contextualize and situate #MeToo, providing a critical review of the movement in two local contexts – Catalonia (Spain) and Portugal. The analysis is grounded on empirical observations on social media, drawing as well on previous scholarship on the topic produced both internationally and in the contexts of study, and on the engagement with relevant national media sources. By focusing on national expressions of #MeToo in Portugal and Catalonia, this article explores how #MeToo took shape in (and was shaped by) the local contexts and existing feminist practices. It presents the different temporalities and dynamics of the movement in these two contexts, exploring the roles of both social media and traditional press in the local developments of #MeToo, and also briefly exploring the local legislative implications of the movement. This article thus presents #MeToo as common and easily recognisable frame used in local contexts to approach different issues of sexual and gendered violence, yet flexible enough to allow for national specificities.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81230070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-08DOI: 10.1177/01634437231179363
Amanda Palmgren, Mathilda Åkerlund, Lisen Viklund
This paper analyses how immigrants are understood by Swedish alternative media and the role that Islamophobia plays, if at all, in these representations. What is remarkable is that although all articles were sampled explicitly to discuss Ukraine, the analysis showed that Muslim immigrants figured with unexpected frequency throughout. The value of these two immigrant groups were antagonistically contrasted through arguments of alleged differences in culture and geographical origin, perceived legitimacy as asylum seekers, and in terms gratitude and supposed level of threat to Swedish society. With this, the unity that is formed around Islamophobia trumps any nationalist views of the Swedish nation state as particularly superior or white and the social and economic consequences which are usually believed to be at risk due to immigration. By extension, the war in Ukraine is articulated as a matter of whiteness and works to exploit war for strengthening the transnational far right.
{"title":"Refugees versus ‘refugees’: the role of Islamophobia in Swedish alternative media’s reporting on Ukrainian asylum seekers","authors":"Amanda Palmgren, Mathilda Åkerlund, Lisen Viklund","doi":"10.1177/01634437231179363","DOIUrl":"https://doi.org/10.1177/01634437231179363","url":null,"abstract":"This paper analyses how immigrants are understood by Swedish alternative media and the role that Islamophobia plays, if at all, in these representations. What is remarkable is that although all articles were sampled explicitly to discuss Ukraine, the analysis showed that Muslim immigrants figured with unexpected frequency throughout. The value of these two immigrant groups were antagonistically contrasted through arguments of alleged differences in culture and geographical origin, perceived legitimacy as asylum seekers, and in terms gratitude and supposed level of threat to Swedish society. With this, the unity that is formed around Islamophobia trumps any nationalist views of the Swedish nation state as particularly superior or white and the social and economic consequences which are usually believed to be at risk due to immigration. By extension, the war in Ukraine is articulated as a matter of whiteness and works to exploit war for strengthening the transnational far right.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72490809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-05DOI: 10.1177/01634437231179367
M. Beattie
The No. 1 Ladies’ Detective Agency is both a successful series of novels and a television series which ran for one series on the BBC in 2008. While the books have been criticised on a number of aspects, including its representation of Botswana, the television series has received very little academic attention at all. The television series was an international co-production between the United States, United Kingdom and South Africa, using a mix of American and South African actors in regular and recurring roles with British guest artists and production team despite being shot in Botswana. While the main features of the adaptation were primarily related to a reordering of vignettes from the books into the series, the television series added in a new character, the camp, gay hairdresser BK. At the time the series was airing, same-sex sexual activity was illegal in Botswana though that has since been changed. As such, this paper will discuss the addition of this liminal character into the series through close reading of the text and paratexts (including industrial context). Ultimately the paper will contextualise the addition with regard to both national and sexual identity and debates surrounding African queer identities.
{"title":"‘Something else’?: international co-production, postcolonial crime fiction and the representation of sexual orientation in The No. 1 Ladies’ Detective Agency TV series","authors":"M. Beattie","doi":"10.1177/01634437231179367","DOIUrl":"https://doi.org/10.1177/01634437231179367","url":null,"abstract":"The No. 1 Ladies’ Detective Agency is both a successful series of novels and a television series which ran for one series on the BBC in 2008. While the books have been criticised on a number of aspects, including its representation of Botswana, the television series has received very little academic attention at all. The television series was an international co-production between the United States, United Kingdom and South Africa, using a mix of American and South African actors in regular and recurring roles with British guest artists and production team despite being shot in Botswana. While the main features of the adaptation were primarily related to a reordering of vignettes from the books into the series, the television series added in a new character, the camp, gay hairdresser BK. At the time the series was airing, same-sex sexual activity was illegal in Botswana though that has since been changed. As such, this paper will discuss the addition of this liminal character into the series through close reading of the text and paratexts (including industrial context). Ultimately the paper will contextualise the addition with regard to both national and sexual identity and debates surrounding African queer identities.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82441098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-02DOI: 10.1177/01634437231179347
Benjamin Duester
Releasing music on cassettes and 7-inch singles has been a part of DIYmusic scenes for a long time. As music production, distribution and consumption have been subjected to a substantial digital shift within the past two decades, one might expect cassette tapes or vinyl records to be a thing of the past, yet they persevere as indicated by thousands of new DIY releases every year. This article investigates the cultural and economic significance of split releases in contemporary DIY music scenes. In contrast to music streaming or digital downloads distributed online, it argues that the technological limitations and material idiosyncrasies of cassette tapes and vinyl records used for split releases allow for creative collaboration and intentional dissociation that contextualise people throughout various cultural and geographical domains. As a result, split releases are specifically used to contrast the overwhelming possibilities that digital music production and distribution pose.
{"title":"‘There’s a lot of freedom you can have with that kind of thing’: vinyl and cassette split releases in the digital age","authors":"Benjamin Duester","doi":"10.1177/01634437231179347","DOIUrl":"https://doi.org/10.1177/01634437231179347","url":null,"abstract":"Releasing music on cassettes and 7-inch singles has been a part of DIYmusic scenes for a long time. As music production, distribution and consumption have been subjected to a substantial digital shift within the past two decades, one might expect cassette tapes or vinyl records to be a thing of the past, yet they persevere as indicated by thousands of new DIY releases every year. This article investigates the cultural and economic significance of split releases in contemporary DIY music scenes. In contrast to music streaming or digital downloads distributed online, it argues that the technological limitations and material idiosyncrasies of cassette tapes and vinyl records used for split releases allow for creative collaboration and intentional dissociation that contextualise people throughout various cultural and geographical domains. As a result, split releases are specifically used to contrast the overwhelming possibilities that digital music production and distribution pose.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89563253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-05DOI: 10.1177/01634437231169908
Guglielmo Scafirimuto
One of the latest transformations of humanitarian communication in recent years has certainly been the growing adoption of the language of animation, especially in online media. Looking at the effects of this new trend, this article intends to reflect on how NGO communication has concretely changed on a visual and discursive level through the use of animation. The corpus analysed, selected from YouTube, consists of a series of examples of animated online videos of NGOs that deal with a recent and influential phenomenon: the refugee crisis. Since 2015, an increasing number of new NGOs have emerged in order to contribute to aid for migrants, as opposed to European policies: what kind of representation of migrants do NGOs convey in their communication campaigns that employ animation? What kind of solidarity discourse is adopted through this audiovisual language? The analysis of these examples will serve as a basis for introducing the theorisation of numerous characteristics specific to animation, which make it an effective medium for the promotion of humanitarian missions and for the transmission of the testimonies of migrants.
{"title":"The use of animation in NGOs’ audio-visual communication about solidarity and migration","authors":"Guglielmo Scafirimuto","doi":"10.1177/01634437231169908","DOIUrl":"https://doi.org/10.1177/01634437231169908","url":null,"abstract":"One of the latest transformations of humanitarian communication in recent years has certainly been the growing adoption of the language of animation, especially in online media. Looking at the effects of this new trend, this article intends to reflect on how NGO communication has concretely changed on a visual and discursive level through the use of animation. The corpus analysed, selected from YouTube, consists of a series of examples of animated online videos of NGOs that deal with a recent and influential phenomenon: the refugee crisis. Since 2015, an increasing number of new NGOs have emerged in order to contribute to aid for migrants, as opposed to European policies: what kind of representation of migrants do NGOs convey in their communication campaigns that employ animation? What kind of solidarity discourse is adopted through this audiovisual language? The analysis of these examples will serve as a basis for introducing the theorisation of numerous characteristics specific to animation, which make it an effective medium for the promotion of humanitarian missions and for the transmission of the testimonies of migrants.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85977770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-02DOI: 10.1177/01634437231169912
Min Wang, Qiushui Li
In the 2010s, feminism thrived in China amid a transformation in social stratification and a rise in women’s social status. The focus of this study is on the representation of the images of women of various social strata in national news reports. Taking Xinwen Lianbo, a national news program produced by China Central Television, as an example, we analyzed visual representations of 360 female figures from 2011 to 2020. The findings revealed that, rather than reflecting China’s Tǔ-shaped stratification structure, the program depicted an “olive-shaped” pseudo-society in which women of what we term the “middle” stratum constituted the largest portion and served as multifaceted role models, women of the “prominent” stratum served as bellwethers of socioeconomic development, and women of the “ordinary” stratum did not participate in social development. The program’s imagery also created a double standard for domestic duties: Women of the prominent stratum were depicted as disembedded from the social role of housewife and breaking through the career “glass ceiling,” though not achieving equality with men in terms of their positions in society or politics, while women of the ordinary stratum as bearing the ideological reshuffle of conservative gender values. This study suggests a fresh perspective on the great disparities in the representation of women in different strata, which differs from the status of gender and stratum in real society.
{"title":"“Re-stratifying” women: female images in China’s state media from the perspective of social stratification (2011–2020)","authors":"Min Wang, Qiushui Li","doi":"10.1177/01634437231169912","DOIUrl":"https://doi.org/10.1177/01634437231169912","url":null,"abstract":"In the 2010s, feminism thrived in China amid a transformation in social stratification and a rise in women’s social status. The focus of this study is on the representation of the images of women of various social strata in national news reports. Taking Xinwen Lianbo, a national news program produced by China Central Television, as an example, we analyzed visual representations of 360 female figures from 2011 to 2020. The findings revealed that, rather than reflecting China’s Tǔ-shaped stratification structure, the program depicted an “olive-shaped” pseudo-society in which women of what we term the “middle” stratum constituted the largest portion and served as multifaceted role models, women of the “prominent” stratum served as bellwethers of socioeconomic development, and women of the “ordinary” stratum did not participate in social development. The program’s imagery also created a double standard for domestic duties: Women of the prominent stratum were depicted as disembedded from the social role of housewife and breaking through the career “glass ceiling,” though not achieving equality with men in terms of their positions in society or politics, while women of the ordinary stratum as bearing the ideological reshuffle of conservative gender values. This study suggests a fresh perspective on the great disparities in the representation of women in different strata, which differs from the status of gender and stratum in real society.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76046973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1177/01634437231169909
Reed Van Schenck
This essay contributes to a materialist theory of media populism by criticizing America First, an influential U.S. American reactionary live-stream hosted by Nicholas J. Fuentes, and its Groyper fans. Fuentes has expanded his online presence despite the deplatforming, or administrative suspension, of his social media accounts on account of his antisemitic, antiblack, and sexist hate speech. To understand the ideological ramifications of deplatforming populist influencers, I read clips from America First into the economic and infrastructural context of U.S. far-right subcultures. I argue that media studies must attend to bourgeois digital platform management as a technology which reproduces the undemocratic conditions of racial capitalism. The deplatforming of Fuentes facilitates the ascent of reactionary populism by reinforcing possessive individualism, or a white masculine fantasy of unmediated access to the public. “The people” of populism functions as media whose lost presence naturalizes sovereign violence against marginalized people. Media populism illustrates the need for to move beyond the dichotomy of “mainstream” versus “fringe” platforms to consider the material affinity of bourgeois digital publics and white nationalist provocation.
这篇文章通过批评Nicholas J. Fuentes主持的有影响力的美国反动直播“美国优先”及其格罗珀粉丝，为媒体民粹主义的唯物主义理论做出了贡献。尽管富恩特斯的社交媒体账户因其反犹太、反黑人和性别歧视的仇恨言论而被取消平台或被行政吊销，但他还是扩大了自己的网络存在。为了理解民粹主义影响者下台的意识形态后果，我阅读了《美国优先》(America First)的片段，将其置于美国极右翼亚文化的经济和基础设施背景下。我认为媒体研究必须关注资产阶级数字平台管理，因为它是一种再现种族资本主义不民主条件的技术。富恩特斯的下台助长了反动民粹主义的崛起，因为它强化了占有欲强的个人主义，或者是一种白人男性对直接接触公众的幻想。民粹主义的“人民”起着媒体的作用，他们的消失使针对边缘人群的主权暴力自然化。媒体民粹主义表明，有必要超越“主流”与“边缘”平台的二分法，考虑资产阶级数字公众和白人民族主义挑衅的物质亲和力。
{"title":"Deplatforming “the people”: media populism, racial capitalism, and the regulation of online reactionary networks","authors":"Reed Van Schenck","doi":"10.1177/01634437231169909","DOIUrl":"https://doi.org/10.1177/01634437231169909","url":null,"abstract":"This essay contributes to a materialist theory of media populism by criticizing America First, an influential U.S. American reactionary live-stream hosted by Nicholas J. Fuentes, and its Groyper fans. Fuentes has expanded his online presence despite the deplatforming, or administrative suspension, of his social media accounts on account of his antisemitic, antiblack, and sexist hate speech. To understand the ideological ramifications of deplatforming populist influencers, I read clips from America First into the economic and infrastructural context of U.S. far-right subcultures. I argue that media studies must attend to bourgeois digital platform management as a technology which reproduces the undemocratic conditions of racial capitalism. The deplatforming of Fuentes facilitates the ascent of reactionary populism by reinforcing possessive individualism, or a white masculine fantasy of unmediated access to the public. “The people” of populism functions as media whose lost presence naturalizes sovereign violence against marginalized people. Media populism illustrates the need for to move beyond the dichotomy of “mainstream” versus “fringe” platforms to consider the material affinity of bourgeois digital publics and white nationalist provocation.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85625813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1177/01634437231168306
A. Siddiqua, Jiakun Gong, I. Aksar
The incorporation of new media technology into journalistic practices led to online harassment, particularly of female journalists. The researchers investigated the tweets of four prominent Pakistani female journalists through the lens of post-colonial feminism and symbolic violence. The qualitative analysis of 239 tweets revealed themes that corroborated the dominance of sociocultural and political grounds in undermining the status of women and making them susceptible to online harassment. In culturally traditional communities, the position of women is “gender specific,” and socioeconomic status cannot guarantee women’s safety from cultural behaviors. The harassment themes included “you called for it,” adhering to the limits of a male-dominated society, women’s card, threats, “lifafa,” shamelessness, religious policing, moral policing, and pseudo-intellectual labeling. The study recommends expanding research in sociopolitical, religious, and cultural contexts to comprehend symbolic violence, particularly in relation to women.
{"title":"Twitter trolling of Pakistani female journalists: A patriarchal society glance","authors":"A. Siddiqua, Jiakun Gong, I. Aksar","doi":"10.1177/01634437231168306","DOIUrl":"https://doi.org/10.1177/01634437231168306","url":null,"abstract":"The incorporation of new media technology into journalistic practices led to online harassment, particularly of female journalists. The researchers investigated the tweets of four prominent Pakistani female journalists through the lens of post-colonial feminism and symbolic violence. The qualitative analysis of 239 tweets revealed themes that corroborated the dominance of sociocultural and political grounds in undermining the status of women and making them susceptible to online harassment. In culturally traditional communities, the position of women is “gender specific,” and socioeconomic status cannot guarantee women’s safety from cultural behaviors. The harassment themes included “you called for it,” adhering to the limits of a male-dominated society, women’s card, threats, “lifafa,” shamelessness, religious policing, moral policing, and pseudo-intellectual labeling. The study recommends expanding research in sociopolitical, religious, and cultural contexts to comprehend symbolic violence, particularly in relation to women.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86143327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-18DOI: 10.1177/01634437231168309
Othon Fernando Jambeiro Barbosa, Kátia Santos de Morais, Natacha Stefanini Canesso, Juliano Mendonça Domingues da Silva, Milena Silvino Evangelista
This article discusses public funding of the development of Brazilian audiovisual production and the main agents involved in its conception and implementation. Public policies impacted the total revenue of US$ 4.5 billion of the national audiovisual industry in 2014, representing approximately 0.45% of the national GDP and surpassing the percentage participation of sectors such as the pharmaceutical industry. This article addresses the question of whether this innovative Brazilian policy for promoting audiovisual production can be considered to be wellconsolidated, with a well-structured active production chain. It discusses how the policy originated, how it became institutionalized, and the contribution provided by those who played a key role in its development and implementation (2009–2016). The analysis draws on theories relating to the political economy of communication. The research methods and techniques adopted include analysis of data from Brazilian government agencies, exhibitors, professional and trade-union associations, and media groups.
{"title":"Audiovisual production in Brazil: Will its public support survive the new political scenario?","authors":"Othon Fernando Jambeiro Barbosa, Kátia Santos de Morais, Natacha Stefanini Canesso, Juliano Mendonça Domingues da Silva, Milena Silvino Evangelista","doi":"10.1177/01634437231168309","DOIUrl":"https://doi.org/10.1177/01634437231168309","url":null,"abstract":"This article discusses public funding of the development of Brazilian audiovisual production and the main agents involved in its conception and implementation. Public policies impacted the total revenue of US$ 4.5 billion of the national audiovisual industry in 2014, representing approximately 0.45% of the national GDP and surpassing the percentage participation of sectors such as the pharmaceutical industry. This article addresses the question of whether this innovative Brazilian policy for promoting audiovisual production can be considered to be wellconsolidated, with a well-structured active production chain. It discusses how the policy originated, how it became institutionalized, and the contribution provided by those who played a key role in its development and implementation (2009–2016). The analysis draws on theories relating to the political economy of communication. The research methods and techniques adopted include analysis of data from Brazilian government agencies, exhibitors, professional and trade-union associations, and media groups.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":null,"pages":null},"PeriodicalIF":3.3,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81987403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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