{"title":"The Elements of Media Studies (Chinese Translation)","authors":"Nicole Starosielski, Tinghao Zhou (translator)","doi":"10.1525/001c.77347","DOIUrl":"https://doi.org/10.1525/001c.77347","url":null,"abstract":"","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128349409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Game: Animals, Video Games, and Humanity. Tom Tyler. Minneapolis: University of Minnesota Press, 2022. ISBN 1517910196.","authors":"Laura op de Beke","doi":"10.1525/001c.67945","DOIUrl":"https://doi.org/10.1525/001c.67945","url":null,"abstract":"","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125057436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Men and Nature in Environmental Media","authors":"Michelle Yates","doi":"10.1525/001c.37275","DOIUrl":"https://doi.org/10.1525/001c.37275","url":null,"abstract":"","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127104725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines Instagram as ecomedia uniquely positioned to provide spaces for members of marginalized communities to find each other and to see themselves in the outdoors. This visibility is an essential step in forming virtual coalitions as well as providing visual representations of how to take up space in the outdoors as well as revising masculinist stereotypes that connect men with the domination and destruction of the nonhuman world. This article looks at the ecodrag of @pattiegonia, an environmental advocate drag queen, who uses Instagram as her main medium. Through her Instagram account and her outside advocacy, she dismantles the gender binary, performs an ecologically conscious drag, and challenges the oppressive narratives of “real” and “natural” manhood in ways that multiply the possibilities for new forms of ecomedia.
{"title":"“pack in. pack out. and pack your heels hunni”: Ecodrag and Ecoqueer Instagram","authors":"Jill Anderson","doi":"10.1525/001c.37272","DOIUrl":"https://doi.org/10.1525/001c.37272","url":null,"abstract":"This article examines Instagram as ecomedia uniquely positioned to provide spaces for members of marginalized communities to find each other and to see themselves in the outdoors. This visibility is an essential step in forming virtual coalitions as well as providing visual representations of how to take up space in the outdoors as well as revising masculinist stereotypes that connect men with the domination and destruction of the nonhuman world. This article looks at the ecodrag of @pattiegonia, an environmental advocate drag queen, who uses Instagram as her main medium. Through her Instagram account and her outside advocacy, she dismantles the gender binary, performs an ecologically conscious drag, and challenges the oppressive narratives of “real” and “natural” manhood in ways that multiply the possibilities for new forms of ecomedia.","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121867725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The cultural roots of an aggrieved white masculinity—white man as victim—run deep in the popular imaginary. Media representation in particular has a long legacy of portraying white male bodies as injured or wounded, dating back to the bloody “hard bodies” of Reagan-era action films. This essay returns to another one of these earlier cultural moments, examining the vulgar physical comedy of the Jackass media franchise as a window into masculine formations in the United States at the turn of the twenty-first century. Specifically, I examine Jackass’s “stupid” white masculinity, which combines bloody self-injury with a scatological logic of bodily incoherence displayed by the show’s pissing, shitting, and puking white stuntmen. Viewed retrospectively—against the contemporary horrors of Charlottesville, El Paso, and other places memorialized by Trumpian eruptions of murderous white masculinity—the dumb white dudes of Jackass appear almost a blip in the rearview mirror, now superseded by a return to something far more sinister. Yet Jackass in its own time expressed a hegemonic white masculinity specific to neoliberal and neoconservative forces of the Clinton and Bush years, one organized ambivalently around an excessive anality. This ambivalent anality both parodied national and gendered fantasies of “hardness” at the same time that it drew on dynamics of racial and queer mimesis to reinscribe hegemonic (white/straight) masculinity. However, the more recent development of a queer ecological perspective allows us to revisit the show’s scatology, also seeing in it what Nicole Seymour has described as an ethical “counter-phobia” which refuses the nature/culture binary that informs Western culture’s deeply embedded erotophobia and somatophobia. This essay takes up the ambivalent anality of Jackass, tracing the ways it has served as precursor to present-day logics of white male grievance, even as its spectacular scatology offers an undertheorized challenge to the cultural revulsion for embodiment and nature that informs all social (gendered, racial, sexual) logics of domination.
{"title":"Ambivalent Anality: Revisiting the Queer Ecologic of “the Jackass Moment”","authors":"Marisol Cortez","doi":"10.1525/001c.37274","DOIUrl":"https://doi.org/10.1525/001c.37274","url":null,"abstract":"The cultural roots of an aggrieved white masculinity—white man as victim—run deep in the popular imaginary. Media representation in particular has a long legacy of portraying white male bodies as injured or wounded, dating back to the bloody “hard bodies” of Reagan-era action films. This essay returns to another one of these earlier cultural moments, examining the vulgar physical comedy of the Jackass media franchise as a window into masculine formations in the United States at the turn of the twenty-first century. Specifically, I examine Jackass’s “stupid” white masculinity, which combines bloody self-injury with a scatological logic of bodily incoherence displayed by the show’s pissing, shitting, and puking white stuntmen. Viewed retrospectively—against the contemporary horrors of Charlottesville, El Paso, and other places memorialized by Trumpian eruptions of murderous white masculinity—the dumb white dudes of Jackass appear almost a blip in the rearview mirror, now superseded by a return to something far more sinister. Yet Jackass in its own time expressed a hegemonic white masculinity specific to neoliberal and neoconservative forces of the Clinton and Bush years, one organized ambivalently around an excessive anality. This ambivalent anality both parodied national and gendered fantasies of “hardness” at the same time that it drew on dynamics of racial and queer mimesis to reinscribe hegemonic (white/straight) masculinity. However, the more recent development of a queer ecological perspective allows us to revisit the show’s scatology, also seeing in it what Nicole Seymour has described as an ethical “counter-phobia” which refuses the nature/culture binary that informs Western culture’s deeply embedded erotophobia and somatophobia. This essay takes up the ambivalent anality of Jackass, tracing the ways it has served as precursor to present-day logics of white male grievance, even as its spectacular scatology offers an undertheorized challenge to the cultural revulsion for embodiment and nature that informs all social (gendered, racial, sexual) logics of domination.","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129666035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explains how the promotional studio narratives and filmmaker interviews for the frontier drama The Revenant (2015), along with the film’s masculinist adventure narrative, have misrepresented and underserved the ecological conditions at the film’s primary shooting locations in western Canada. Although the film ostensibly pays tribute to the beauty and power of spectacular wilderness regions, the media events involving its release and reception amplified the story’s tropes regarding male suffering in the face of hostile nature, thus hampering the film’s ability to call forth environmental identifications from audiences sufficient to helping effect systems change.
{"title":"“You Will Say, ‘Wow’”: Cinematic Glamping and Ecomasculine Crisis in (and around) The Revenant","authors":"M. Trono","doi":"10.1525/001c.37273","DOIUrl":"https://doi.org/10.1525/001c.37273","url":null,"abstract":"This article explains how the promotional studio narratives and filmmaker interviews for the frontier drama The Revenant (2015), along with the film’s masculinist adventure narrative, have misrepresented and underserved the ecological conditions at the film’s primary shooting locations in western Canada. Although the film ostensibly pays tribute to the beauty and power of spectacular wilderness regions, the media events involving its release and reception amplified the story’s tropes regarding male suffering in the face of hostile nature, thus hampering the film’s ability to call forth environmental identifications from audiences sufficient to helping effect systems change.","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124352311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article critically analyzes cultural anxieties around the plant-based phytoestrogens in soy. Drawing from biomedical data on the physiological effects of soy ingestion, I show the ways in which gendered food fear is co-constituted by science and its diffusion within popular media, including through privileging of the perspectives of heterosexual cisgender white men, from conspiracy radio host Alex Jones to Men’s Health or Good Housekeeping magazines. Gendered tropes of determinism, sexual mutation, and panic, such as hyperfocus on semen, sperm counts, or genitalia as determinant of masculinity in rat models, draw from critical biomedical research of the legume, but also center heteronormative, transphobic, and white supremacist understandings of food as a hormonal reproductive toxin. Drawing from a feminist and queer ecologies approach, this article connects the social and life sciences by showcasing the ways popular media propels gendered ecological fear in a historical moment of increased concern over the politics and power of food, health, and toxic exposures.
{"title":"Queer, Toxic Soybeans and Estrogen Panic: Gendered Food Fearmongering","authors":"R. Vaughn","doi":"10.1525/001c.37271","DOIUrl":"https://doi.org/10.1525/001c.37271","url":null,"abstract":"This article critically analyzes cultural anxieties around the plant-based phytoestrogens in soy. Drawing from biomedical data on the physiological effects of soy ingestion, I show the ways in which gendered food fear is co-constituted by science and its diffusion within popular media, including through privileging of the perspectives of heterosexual cisgender white men, from conspiracy radio host Alex Jones to Men’s Health or Good Housekeeping magazines. Gendered tropes of determinism, sexual mutation, and panic, such as hyperfocus on semen, sperm counts, or genitalia as determinant of masculinity in rat models, draw from critical biomedical research of the legume, but also center heteronormative, transphobic, and white supremacist understandings of food as a hormonal reproductive toxin. Drawing from a feminist and queer ecologies approach, this article connects the social and life sciences by showcasing the ways popular media propels gendered ecological fear in a historical moment of increased concern over the politics and power of food, health, and toxic exposures.","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"216 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116472578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Genealogies of Environmental Media” analyzes a feminist genealogy of art and media practice that reconstitutes the relationship between bodies and environments through what Shannon Jackson calls “social works”—artworks that are engaged at the nexus of aesthetics and politics. I attend to social works that focus on the environment, and in so doing, reveal a feminist strategy of performance that I refer to as the choreographic body. The choreographic body enacts the labor of performance and alters the embodied experience of spectators and participants. As media bodies, choreographic bodies are semiotic and historically contingent, advancing environmental work in ways that foreground how the performing body exposes environmental infrastructures that are occluded from view. In the social works I analyze, the choreographic body occupies a site of reflexive mediation that bears on the environment, lacing feminist art with media histories. I trace the changing status of the choreographic body alongside environmental social work beginning with filmmaker Maya Deren’s choreocinema and dancer Anna Halprin’s community dance to illustrate how the choreographic body developed as a feminist strategy—shifting from explorations of the body in front of the camera in the outdoors, to dance’s shifting location from inside the studio to outside on Halprin’s dance deck and in the wider California community. This foundation then recasts performance artist Mierle Laderman Ukeles through the lens of dance as an overlooked, but central, part of her environmental practice. I read Touch Sanitation and Marrying the Barges: A Barge Ballet/Touch Sanitation Show in light of how she utilizes the choreographic body as an overlooked feminist strategy. This positions the bodies of participants in a larger choreography of performance. Finally, I analyze Invisible-5, a travelogue/audio tour of Interstate 5 in California that brings awareness to environmental injustice, as a way to think through the shifting role of the choreographic body in more recent work and ask where it might lead us as scholars and activists.
{"title":"Genealogies of Environmental Media: Feminist Art and the Choreographic Body in Social Works","authors":"S. Lerner","doi":"10.1525/001c.35470","DOIUrl":"https://doi.org/10.1525/001c.35470","url":null,"abstract":"“Genealogies of Environmental Media” analyzes a feminist genealogy of art and media practice that reconstitutes the relationship between bodies and environments through what Shannon Jackson calls “social works”—artworks that are engaged at the nexus of aesthetics and politics. I attend to social works that focus on the environment, and in so doing, reveal a feminist strategy of performance that I refer to as the choreographic body. The choreographic body enacts the labor of performance and alters the embodied experience of spectators and participants. As media bodies, choreographic bodies are semiotic and historically contingent, advancing environmental work in ways that foreground how the performing body exposes environmental infrastructures that are occluded from view. In the social works I analyze, the choreographic body occupies a site of reflexive mediation that bears on the environment, lacing feminist art with media histories. I trace the changing status of the choreographic body alongside environmental social work beginning with filmmaker Maya Deren’s choreocinema and dancer Anna Halprin’s community dance to illustrate how the choreographic body developed as a feminist strategy—shifting from explorations of the body in front of the camera in the outdoors, to dance’s shifting location from inside the studio to outside on Halprin’s dance deck and in the wider California community. This foundation then recasts performance artist Mierle Laderman Ukeles through the lens of dance as an overlooked, but central, part of her environmental practice. I read Touch Sanitation and Marrying the Barges: A Barge Ballet/Touch Sanitation Show in light of how she utilizes the choreographic body as an overlooked feminist strategy. This positions the bodies of participants in a larger choreography of performance. Finally, I analyze Invisible-5, a travelogue/audio tour of Interstate 5 in California that brings awareness to environmental injustice, as a way to think through the shifting role of the choreographic body in more recent work and ask where it might lead us as scholars and activists.","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132206836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Early atomic media, infrastructures, and the atomic attack (a phrase I take up instead of the ambiguous and occluding term atomic test) at the Trinity site in Nuevo México remain surprisingly unexamined through the lens of coloniality (Quijano 2000). This essay proposes “mediations of atomic coloniality” as a “creative mediation” (Kember and Zylinska 2012, 200) to investigate the public facing discourses around the world’s earliest nuclear infrastructures at Trinity. This critical approach is multimodal and (1) uses a site visit by the author to highlight the public discourses that circulate at the Trinity landmark; (2) explores early atomic documentary cinema and their spatialization of Nuevo México; and (3) looks at the emergence of what the author terms downwind media as taken up by local community activists in the Tularosa Basin Downwinders Consortium. Mediations of atomic coloniality as an approach engages with mediation as composed of dynamic processes that interlink diverse forms of media ranging from radioactive bodies to lands, films, and current regional media activism stemming from Trinity. This approach moves beyond notions of the first atomic bomb as exceeding traditional forms of mediation. Instead, it both sheds light on the role of media objects in the bolstering of dominant Eurocentric discourses of the early atomic age in Nuevo México and follows the dispersed accounts of radioactive and racialized “slow violence” (Nixon 2013) articulated by local communities of color. Ultimately, this essay explores what is gained in understanding the nuclear infrastructures at Trinity through a broader media ecology and, relatedly, how mediation might also function as a praxis in environmental justice efforts.
早期的原子媒体、基础设施和在Nuevo m希科(Nuevo m希科)的三一基地进行的原子攻击(我用这个词来代替模棱两可和含糊不清的“原子试验”一词)令人惊讶地没有通过殖民主义的视角进行研究(Quijano 2000)。本文提出“原子殖民的调解”作为一种“创造性调解”(Kember and Zylinska 2012, 200)，以调查三一学院世界上最早的核基础设施周围的公众话语。这种批判性的方法是多模式的，并且(1)使用作者的现场访问来突出在三位一体地标处流通的公共话语;(2)探索早期原子纪录片电影及其空间化;(3)研究了作者所谓的顺风媒体的出现，这些媒体是由图拉罗萨盆地顺风者联盟的当地社区活动家所采用的。原子殖民的调解作为一种方法，将调解作为一种动态过程，将各种形式的媒体联系在一起，从放射性物体到土地、电影，以及源于Trinity的当前区域媒体行动主义。这种方法超越了第一颗原子弹的概念，超越了传统的调解形式。相反，它既揭示了媒体对象在支持新mevo m希科早期原子时代主导的欧洲中心话语中的作用，又遵循了当地有色人种社区对放射性和种族化的“缓慢暴力”(Nixon 2013)的分散描述。最后，本文探讨了通过更广泛的媒体生态来理解三一学院的核基础设施所获得的成果，以及相关的调解如何在环境正义努力中发挥实践作用。
{"title":"A Body Downwind of the Atomic Attack at Trinity: Mediations of Atomic Coloniality in Nuevo México","authors":"Stephen N. Borunda","doi":"10.1525/001c.36561","DOIUrl":"https://doi.org/10.1525/001c.36561","url":null,"abstract":"Early atomic media, infrastructures, and the atomic attack (a phrase I take up instead of the ambiguous and occluding term atomic test) at the Trinity site in Nuevo México remain surprisingly unexamined through the lens of coloniality (Quijano 2000). This essay proposes “mediations of atomic coloniality” as a “creative mediation” (Kember and Zylinska 2012, 200) to investigate the public facing discourses around the world’s earliest nuclear infrastructures at Trinity. This critical approach is multimodal and (1) uses a site visit by the author to highlight the public discourses that circulate at the Trinity landmark; (2) explores early atomic documentary cinema and their spatialization of Nuevo México; and (3) looks at the emergence of what the author terms downwind media as taken up by local community activists in the Tularosa Basin Downwinders Consortium. Mediations of atomic coloniality as an approach engages with mediation as composed of dynamic processes that interlink diverse forms of media ranging from radioactive bodies to lands, films, and current regional media activism stemming from Trinity. This approach moves beyond notions of the first atomic bomb as exceeding traditional forms of mediation. Instead, it both sheds light on the role of media objects in the bolstering of dominant Eurocentric discourses of the early atomic age in Nuevo México and follows the dispersed accounts of radioactive and racialized “slow violence” (Nixon 2013) articulated by local communities of color. Ultimately, this essay explores what is gained in understanding the nuclear infrastructures at Trinity through a broader media ecology and, relatedly, how mediation might also function as a praxis in environmental justice efforts.","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131615590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. Barandiaran, Mona Damluji, Stephan F. Miescher, David N. Pellow, Janet Walker
{"title":"Energy Justice in Global Perspective: An Introduction","authors":"J. Barandiaran, Mona Damluji, Stephan F. Miescher, David N. Pellow, Janet Walker","doi":"10.1525/001c.37073","DOIUrl":"https://doi.org/10.1525/001c.37073","url":null,"abstract":"","PeriodicalId":235953,"journal":{"name":"Media+Environment","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131221895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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