Pub Date : 2022-12-26DOI: 10.1177/01634437221136006
Keith B. Wagner
TikTok has ousted Google as the world’s favorite online destination in 2021. As China’s first emergent social media app making its mark across the Global North and South, it has prompted a shift in our global mediascape. Following in the footsteps of YouTube and Instagram after it, TikTok is facilitating new identities through User-Generated Content (UGC) while challenging the hegemony of American-led platform culture. UGC analyzed in this article views it unabashedly as a youthful narcissism through which a form of self-reinvention online is created. This is culturally surmised as an intriguing new form of global creativity that I label ecumenical UGC. Yet, scholarship has largely examined TikTok through empirical and content analysis frameworks only, negating the compelling cultural studies issues evinced in this trendy media. In conjunction with discussions of TikTok’s meteoric rise, this article also probes how the Chinese company that owns this app bends several UNESCO media principles, creating its mediatic split with its twin, Douyin operating only in the PRC. By laying out this other path, one detects a shrinkage of cultural globalization in the pandemic era as TikTok becomes a carrier of ‘underglobalization’ flows, a disrupter and provider of algorithmic content, all going under not against older notions of global culture.
{"title":"TikTok and its mediatic split: the promotion of ecumenical user-generated content alongside Sinocentric media globalization","authors":"Keith B. Wagner","doi":"10.1177/01634437221136006","DOIUrl":"https://doi.org/10.1177/01634437221136006","url":null,"abstract":"TikTok has ousted Google as the world’s favorite online destination in 2021. As China’s first emergent social media app making its mark across the Global North and South, it has prompted a shift in our global mediascape. Following in the footsteps of YouTube and Instagram after it, TikTok is facilitating new identities through User-Generated Content (UGC) while challenging the hegemony of American-led platform culture. UGC analyzed in this article views it unabashedly as a youthful narcissism through which a form of self-reinvention online is created. This is culturally surmised as an intriguing new form of global creativity that I label ecumenical UGC. Yet, scholarship has largely examined TikTok through empirical and content analysis frameworks only, negating the compelling cultural studies issues evinced in this trendy media. In conjunction with discussions of TikTok’s meteoric rise, this article also probes how the Chinese company that owns this app bends several UNESCO media principles, creating its mediatic split with its twin, Douyin operating only in the PRC. By laying out this other path, one detects a shrinkage of cultural globalization in the pandemic era as TikTok becomes a carrier of ‘underglobalization’ flows, a disrupter and provider of algorithmic content, all going under not against older notions of global culture.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"28 1","pages":"323 - 337"},"PeriodicalIF":3.3,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85828282","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 : 2022-12-24DOI: 10.1177/01634437221140520
Xiaoye Zhang
Music listening is one of the most popular leisure activities in our lives, and it can also be found in prisons across the globe. However, most research on music in prison are concerned with its rehabilitative functions and not as an everyday activity. This study collected qualitative questionnaires and interview data from 14 prisons to illustrate the soundscape of music listening in Chinese prisons. The main access to music listening happens at the workspace and it is only available in the form of background music. This study considers the various functions of background music for both prisoners and officers. Music curation and access are about power and control, and it reveals a mostly hierarchical yet also dynamic pattern in the Chinese staff–prisoner relationship. Listening to music has also been found to be one of the coping mechanisms for officers and prisoners who share similar working conditions where conformity to authority is inevitable for all.
{"title":"Functions of background music among prisoners and staff in the Chinese prison workplace","authors":"Xiaoye Zhang","doi":"10.1177/01634437221140520","DOIUrl":"https://doi.org/10.1177/01634437221140520","url":null,"abstract":"Music listening is one of the most popular leisure activities in our lives, and it can also be found in prisons across the globe. However, most research on music in prison are concerned with its rehabilitative functions and not as an everyday activity. This study collected qualitative questionnaires and interview data from 14 prisons to illustrate the soundscape of music listening in Chinese prisons. The main access to music listening happens at the workspace and it is only available in the form of background music. This study considers the various functions of background music for both prisoners and officers. Music curation and access are about power and control, and it reveals a mostly hierarchical yet also dynamic pattern in the Chinese staff–prisoner relationship. Listening to music has also been found to be one of the coping mechanisms for officers and prisoners who share similar working conditions where conformity to authority is inevitable for all.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"27 1","pages":"737 - 752"},"PeriodicalIF":3.3,"publicationDate":"2022-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72564016","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 : 2022-12-23DOI: 10.1177/01634437221140523
S. Devgan
In March 2019, Ensaaf, a transnational, non-profit organization, launched the project of daily posts on their social media pages consisting of remains or traces of disappeared Sikhs (an ethnoreligious minority community in India and the diaspora), that is, their photographs and biographical details. In this paper, I reflect on the meanings implicit in Ensaaf’s daily work of remembering and circulating remains of the disappearance on social media, specifically Facebook. By creating an archive that circulates regularly and frequently in and through social media, Ensaaf is performing what I call digital melancholia: continuous and ongoing grief work. The medium in which Ensaaf enacts its melancholic attachment with the disappeared leaves its imprint on the meaning of the performance itself. The daily work of melancholia performed in the constantly evolving space of Facebook is a form of “epistemic resistance” against the Indian state’s “necropolitics.”
{"title":"The remains of the disappeared: digital melancholia and Ensaaf (justice)","authors":"S. Devgan","doi":"10.1177/01634437221140523","DOIUrl":"https://doi.org/10.1177/01634437221140523","url":null,"abstract":"In March 2019, Ensaaf, a transnational, non-profit organization, launched the project of daily posts on their social media pages consisting of remains or traces of disappeared Sikhs (an ethnoreligious minority community in India and the diaspora), that is, their photographs and biographical details. In this paper, I reflect on the meanings implicit in Ensaaf’s daily work of remembering and circulating remains of the disappearance on social media, specifically Facebook. By creating an archive that circulates regularly and frequently in and through social media, Ensaaf is performing what I call digital melancholia: continuous and ongoing grief work. The medium in which Ensaaf enacts its melancholic attachment with the disappeared leaves its imprint on the meaning of the performance itself. The daily work of melancholia performed in the constantly evolving space of Facebook is a form of “epistemic resistance” against the Indian state’s “necropolitics.”","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"29 1","pages":"785 - 804"},"PeriodicalIF":3.3,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85935975","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 : 2022-12-12DOI: 10.1177/01634437221140531
C. Are
Situated within the field of platform governance studies, this paper shares findings from an ‘autoethnography of automated powerlessness’, drawing from the researcher’s disempowering experience of being a heavily moderated social media user. Using theoretical frameworks blending affordances and World Risk Society theories, this paper contextualises my experiences of moderation of my pole dance instructor, activist and blogger account @bloggeronpole from February to October 2021 within social media’s broader de-platforming of nudity and sexuality, finding fallacies within platforms’ own affordances, which lack mechanisms to aid or rehabilitate de-platformed accounts. With little to no information from platforms about the details of their moderation, qualitative, ethnographic and autoethnographic explorations of their governance are all users currently have to fight and understand their puritan, patriarchal censorship of nudity and sexuality, which are often conflated with risk. This study concludes with recommendations for different options for better, more equal and community focused moderation.
{"title":"An autoethnography of automated powerlessness: lacking platform affordances in Instagram and TikTok account deletions","authors":"C. Are","doi":"10.1177/01634437221140531","DOIUrl":"https://doi.org/10.1177/01634437221140531","url":null,"abstract":"Situated within the field of platform governance studies, this paper shares findings from an ‘autoethnography of automated powerlessness’, drawing from the researcher’s disempowering experience of being a heavily moderated social media user. Using theoretical frameworks blending affordances and World Risk Society theories, this paper contextualises my experiences of moderation of my pole dance instructor, activist and blogger account @bloggeronpole from February to October 2021 within social media’s broader de-platforming of nudity and sexuality, finding fallacies within platforms’ own affordances, which lack mechanisms to aid or rehabilitate de-platformed accounts. With little to no information from platforms about the details of their moderation, qualitative, ethnographic and autoethnographic explorations of their governance are all users currently have to fight and understand their puritan, patriarchal censorship of nudity and sexuality, which are often conflated with risk. This study concludes with recommendations for different options for better, more equal and community focused moderation.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"103 1","pages":"822 - 840"},"PeriodicalIF":3.3,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80739882","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 : 2022-12-07DOI: 10.1177/01634437221140510
Khanyile Mlotshwa
In this paper, I recount my experiences with western media theory. Working on my PhD thesis marked my turn to decolonial theory. I used the creolisation strategy of putting critical western Marxist theories in conversation with African, black and Latin American decolonial theories. I worked on my PhD thesis under conditions informed by the Rhodes Must Fall (RMF), the Fees Must Fall (FMF) and other broader protests in South Africa whose connecting thread was the demand for the decolonisation of both the academy and public life. It is my conviction that, although work has already begun, there is still a lot of work to be done in decolonising the disciplines of journalism, media and cultural studies.
{"title":"My journey with western theory in the university in Africa","authors":"Khanyile Mlotshwa","doi":"10.1177/01634437221140510","DOIUrl":"https://doi.org/10.1177/01634437221140510","url":null,"abstract":"In this paper, I recount my experiences with western media theory. Working on my PhD thesis marked my turn to decolonial theory. I used the creolisation strategy of putting critical western Marxist theories in conversation with African, black and Latin American decolonial theories. I worked on my PhD thesis under conditions informed by the Rhodes Must Fall (RMF), the Fees Must Fall (FMF) and other broader protests in South Africa whose connecting thread was the demand for the decolonisation of both the academy and public life. It is my conviction that, although work has already begun, there is still a lot of work to be done in decolonising the disciplines of journalism, media and cultural studies.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"31 1","pages":"413 - 420"},"PeriodicalIF":3.3,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85847837","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 : 2022-12-07DOI: 10.1177/01634437221140539
Daniel Meyerend
In October of 2018, several Black Netflix users took to Twitter to air their grievances about images in movie thumbnails featuring Black actors with minor roles, even when the movie itself was a majority white cast. In response to these critiques, Netflix claimed that because users are not asked about their racial identity, it is impossible to personalize the individual Netflix experience using identity markers. This article explores the interplay between algorithmic cultures and representations of race, examining the identity and voices of users and how their agency is affected within algorithmic systems. Users are seeking agentic traction in these algorithmic spaces, and this research begins to address how Black users are positioning themselves to make sense of the digital constraints placed on them. Black subscribers of Netflix heavily critiqued the algorithms used to advertise content to them, and I examine how Netflix constructs Black users as Black subjects in order to keep them engaged with the platform.
{"title":"The algorithm knows I’m Black: from users to subjects","authors":"Daniel Meyerend","doi":"10.1177/01634437221140539","DOIUrl":"https://doi.org/10.1177/01634437221140539","url":null,"abstract":"In October of 2018, several Black Netflix users took to Twitter to air their grievances about images in movie thumbnails featuring Black actors with minor roles, even when the movie itself was a majority white cast. In response to these critiques, Netflix claimed that because users are not asked about their racial identity, it is impossible to personalize the individual Netflix experience using identity markers. This article explores the interplay between algorithmic cultures and representations of race, examining the identity and voices of users and how their agency is affected within algorithmic systems. Users are seeking agentic traction in these algorithmic spaces, and this research begins to address how Black users are positioning themselves to make sense of the digital constraints placed on them. Black subscribers of Netflix heavily critiqued the algorithms used to advertise content to them, and I examine how Netflix constructs Black users as Black subjects in order to keep them engaged with the platform.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"19 1","pages":"629 - 645"},"PeriodicalIF":3.3,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81331500","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 : 2022-12-01DOI: 10.1177/01634437221140525
Francis L. F. Lee, C. Chan
During democratic backsliding, the state can curtail press freedom through the legalization of press control, that is, the establishment and utilization of legal instruments for the purpose of controlling the media and journalistic work. Drawing upon the literature on authoritarian rule of law, this article emphasizes that legalization of press control has to be examined by paying attention to both the conspicuous and subtle measures that constitute the legal minefield for journalism, the evolution of official discourses that aim at legitimizing the laws and their implementation, and the changing politics of self-censorship as journalists and the society react to emerging legal risks. The empirical analysis focuses on Hong Kong after the establishment of the National Security Law in June 2020. The article offers an updated analytical account of press freedom in Hong Kong and the conceptualization of a process possibly observable in other authoritarian states or hybrid regimes.
{"title":"Legalization of press control under democratic backsliding: The case of post-national security law Hong Kong","authors":"Francis L. F. Lee, C. Chan","doi":"10.1177/01634437221140525","DOIUrl":"https://doi.org/10.1177/01634437221140525","url":null,"abstract":"During democratic backsliding, the state can curtail press freedom through the legalization of press control, that is, the establishment and utilization of legal instruments for the purpose of controlling the media and journalistic work. Drawing upon the literature on authoritarian rule of law, this article emphasizes that legalization of press control has to be examined by paying attention to both the conspicuous and subtle measures that constitute the legal minefield for journalism, the evolution of official discourses that aim at legitimizing the laws and their implementation, and the changing politics of self-censorship as journalists and the society react to emerging legal risks. The empirical analysis focuses on Hong Kong after the establishment of the National Security Law in June 2020. The article offers an updated analytical account of press freedom in Hong Kong and the conceptualization of a process possibly observable in other authoritarian states or hybrid regimes.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"100 1","pages":"916 - 931"},"PeriodicalIF":3.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74353908","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 : 2022-11-23DOI: 10.1177/01634437221135980
Teairah Taylor
Black-oriented magazines have been a staple of Black communities for decades. Essence magazine, in particular, places a strong emphasis on targeting and empowering the Black woman. Essence often covers health issues in their publications alongside other popular issues being discussed in Black communities. Given the prevalence of health articles in Essence, I conducted a content analysis to assess how the magazine discusses the relationships between health, power, and race. The findings suggest that Essence magazine leverages its cultural and popular position to engage in discussions about health issues with its readers in culturally relevant ways that engage and empower Black women. At the same time, given Essence’s global platform, the magazine walks a tightrope between being an ‘easy-read’ popular magazine and an outlet that discusses pressing health-related issues.
{"title":"What’s not talked about: a content analysis of health issues in Black-oriented magazines","authors":"Teairah Taylor","doi":"10.1177/01634437221135980","DOIUrl":"https://doi.org/10.1177/01634437221135980","url":null,"abstract":"Black-oriented magazines have been a staple of Black communities for decades. Essence magazine, in particular, places a strong emphasis on targeting and empowering the Black woman. Essence often covers health issues in their publications alongside other popular issues being discussed in Black communities. Given the prevalence of health articles in Essence, I conducted a content analysis to assess how the magazine discusses the relationships between health, power, and race. The findings suggest that Essence magazine leverages its cultural and popular position to engage in discussions about health issues with its readers in culturally relevant ways that engage and empower Black women. At the same time, given Essence’s global platform, the magazine walks a tightrope between being an ‘easy-read’ popular magazine and an outlet that discusses pressing health-related issues.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"26 1","pages":"612 - 628"},"PeriodicalIF":3.3,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87147126","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 : 2022-11-18DOI: 10.1177/01634437221136013
Yener Bayramoğlu
This article explores how smartphone videos produced by migrants during border crossings challenge Eurocentric visualizations of borders. Implementing video analysis and iconographic interpretation, I explore three interrelated aspects of the smartphone videos: (1) By circulating videos via digital platforms, migrants create a countervisuality of border crossing that destabilizes the visual politics that shape current border regimes. (2) Unlike journalistic, humanitarian, or surveillance-oriented visual images produced from above, from a safe distance, from rescue or patrol ships, migrants’ smartphone footage puts their own narratives at the center of visualization. (3) Whereas Eurocentric visualizations of migration and borders aim to elicit affects and emotions such as pity, empathy, fear, or panic, migrants’ smartphone videos depict emotions such as joy and happiness after successful border crossings. These affective visualizations of individual migration stories confound binary representations of migrants as either victims or invaders. I argue that the shaky smartphone videos with their wandering focus and disordered mode of vision create a productive vantage point for seeing and sensing a world that is unimaginable for the normative, focused lens that structures views projected by journalism, humanitarian appeals, political mobilization, and surveillance technologies.
{"title":"Border countervisuality: smartphone videos of border crossing and migration","authors":"Yener Bayramoğlu","doi":"10.1177/01634437221136013","DOIUrl":"https://doi.org/10.1177/01634437221136013","url":null,"abstract":"This article explores how smartphone videos produced by migrants during border crossings challenge Eurocentric visualizations of borders. Implementing video analysis and iconographic interpretation, I explore three interrelated aspects of the smartphone videos: (1) By circulating videos via digital platforms, migrants create a countervisuality of border crossing that destabilizes the visual politics that shape current border regimes. (2) Unlike journalistic, humanitarian, or surveillance-oriented visual images produced from above, from a safe distance, from rescue or patrol ships, migrants’ smartphone footage puts their own narratives at the center of visualization. (3) Whereas Eurocentric visualizations of migration and borders aim to elicit affects and emotions such as pity, empathy, fear, or panic, migrants’ smartphone videos depict emotions such as joy and happiness after successful border crossings. These affective visualizations of individual migration stories confound binary representations of migrants as either victims or invaders. I argue that the shaky smartphone videos with their wandering focus and disordered mode of vision create a productive vantage point for seeing and sensing a world that is unimaginable for the normative, focused lens that structures views projected by journalism, humanitarian appeals, political mobilization, and surveillance technologies.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"1 1","pages":"595 - 611"},"PeriodicalIF":3.3,"publicationDate":"2022-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83666237","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 : 2022-11-16DOI: 10.1177/01634437221135994
Min Xu, Shi Zheng
In the past decade, there has been a significant rise in urban women-themed TV dramas in China, some of which have generated substantial public discourse on femininity. While Western women-centred TV and cinematic productions have been discussed intensively, much less attention has been paid to Chinese TV series and their audience reception. This article highlights the usefulness of studying audience response to the women-centred TV series produced in China over the past decade, especially those focusing on single women as main characters. By examining these widely-viewed TV series and their audience interpretation, this article aims to investigate the ordinariness and everydayness through which a postfeminist sensibility manifests in a non-Western context. As the research shows, these women-centred TV series reveal the diverse dimensions of urban women’s everyday lives. However, Chinese audiences express strong opposition to masculinised hypercorrection and the fetishisation of the gynandroid in such TV series. Many Chinese viewers prefer to see a realistic representation of Chinese women who have autonomy and the right to be imperfect. The findings shed light on gender-related debates in China today and contribute to discussions about the everydayness of postfeminism from an audience’s perspective.
{"title":"Against masculinised hypercorrection? Renegotiating the everydayness and ordinariness of postfeminism on Chinese TV","authors":"Min Xu, Shi Zheng","doi":"10.1177/01634437221135994","DOIUrl":"https://doi.org/10.1177/01634437221135994","url":null,"abstract":"In the past decade, there has been a significant rise in urban women-themed TV dramas in China, some of which have generated substantial public discourse on femininity. While Western women-centred TV and cinematic productions have been discussed intensively, much less attention has been paid to Chinese TV series and their audience reception. This article highlights the usefulness of studying audience response to the women-centred TV series produced in China over the past decade, especially those focusing on single women as main characters. By examining these widely-viewed TV series and their audience interpretation, this article aims to investigate the ordinariness and everydayness through which a postfeminist sensibility manifests in a non-Western context. As the research shows, these women-centred TV series reveal the diverse dimensions of urban women’s everyday lives. However, Chinese audiences express strong opposition to masculinised hypercorrection and the fetishisation of the gynandroid in such TV series. Many Chinese viewers prefer to see a realistic representation of Chinese women who have autonomy and the right to be imperfect. The findings shed light on gender-related debates in China today and contribute to discussions about the everydayness of postfeminism from an audience’s perspective.","PeriodicalId":18417,"journal":{"name":"Media, Culture & Society","volume":"22 1","pages":"435 - 446"},"PeriodicalIF":3.3,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84264798","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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