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The politics of Digital India: between local compulsions and transnational pressures 数字印度的政治:在地方强制和跨国压力之间
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-08-01 DOI: 10.1080/15295036.2023.2239906
A. Babu
horse and next to a Bugatti automobile, the trappings of European civility. Despite Brown’s efforts to assimilate, the French continued to view him through a racialized lens. Chapter four is an analysis of the work of Uruguayan painter Pedro Figari, who was born to Italian parents. Figari centered Blackness in his visions of the cultural mixing that characterized the “Americas,” a locale he conceived of as beyond national boundaries (p. 142). Using an anthropological lens, Figari essentialized the cultural contributions of Black Uruguayans and Argentines as “candombe,” a West and Central African dance tradition syncretized with Catholicism. While Figari’s impressionistic paintings of African dancers reinforced notions of their primitivism, he also argued for Black intelligence and blamed whites for creating white supremacist, segregated societies. Williams notes the contradictions in Figari’s work: his writings cast African-descended people as “hypersexual and uncultivated animals,” but his paintings also humanized his subjects (p. 174). Williams concludes that through these oscillating portrayals, Figari created new stereotypes that were tied to his cultural context, consigning Black Latin Americans to “a visible but isolated existence” (p. 180). Williams’s book is particularly relevant to international media critics and art historians who seek to understand the Latin and African diasporas across the colonial world. In the concluding chapter, Williams articulates her theory of Latinizing Blackness, which distills the impact of the complex politics of racial identity during this era. Williams could reference this theory throughout the book to more clearly guide her analysis of Latin American and Black identities in Parisian representations. Similarly, Williams presents notions such as the “gaze” that Parisians used upon Latin Americans and that Latin Americans sometimes returned. Future research could expand upon this notion according to gendered and racialized understandings of the colonial gaze and the technology of white sight, as articulated by Nicolas Mirzoeff. Finally, the often-convoluted terms translated from Spanish, French, and other languages, particularly the racial epithets used for Black Latin Americans, could further contextualized historically. A discussion of not only their denotations but also their connotations and larger social implications would round out Williams’s analysis. In sum, Williams’s survey of representations of Latin Blackness begins to expose the complex processes of Europeans’ racialization of African descendants in transnational and transcolonial contexts, which resulted in ambivalent, and contested, representations.
旁边是一辆布加迪汽车,这是欧洲文明的标志。尽管布朗努力融入法国,但法国人继续用种族化的眼光看待他。第四章是对乌拉圭画家佩德罗·费加里作品的分析,他的父母是意大利人。费加里把黑人作为他对“美洲”文化融合的看法的中心,他认为这是一个超越国界的地方(第142页)。费加里用人类学的视角,将乌拉圭黑人和阿根廷黑人的文化贡献概括为“candombe”,这是一种与天主教融合在一起的西非和中非舞蹈传统。虽然费加里的非洲舞者的印象派绘画强化了他们的原始主义观念,但他也为黑人的智慧辩护,并指责白人创造了白人至上主义和种族隔离的社会。威廉姆斯注意到费加里作品中的矛盾:他的作品把非洲人后裔描绘成“性欲亢进和未开垦的动物”,但他的绘画也使他的主题人性化(第174页)。威廉姆斯的结论是,通过这些摇摆不定的描绘,费加里创造了与他的文化背景相关的新刻板印象,将拉丁美洲黑人视为“可见但孤立的存在”(第180页)。威廉姆斯的书对那些试图了解拉丁和非洲移民在殖民世界的国际媒体评论家和艺术史学家特别有意义。在最后一章,威廉姆斯阐述了她的拉丁化黑人理论,提炼了这个时代复杂的种族身份政治的影响。威廉姆斯可以在整本书中引用这一理论,以更清晰地指导她对巴黎表现中的拉丁美洲和黑人身份的分析。同样,威廉姆斯也提出了一些概念,比如巴黎人对拉丁美洲人的“凝视”,而拉丁美洲人有时也会回敬他们。正如Nicolas Mirzoeff所阐述的那样,未来的研究可以根据对殖民凝视和白人视觉技术的性别和种族化理解来扩展这一概念。最后,从西班牙语、法语和其他语言翻译过来的经常令人费解的术语,特别是用于拉丁美洲黑人的种族绰号,可以进一步在历史背景下化。对其外延、内涵和更大的社会影响的讨论将使威廉姆斯的分析更加完善。总而言之,威廉姆斯对拉丁黑人表征的调查开始揭示欧洲人在跨国和跨殖民背景下对非洲后裔的种族化的复杂过程,这导致了矛盾和有争议的表征。
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引用次数: 1
Still never at the top: representation of Asian and Black characters in Sony/Marvel Studios’ Spider-Man trilogy 但从未名列前茅:索尼/漫威工作室的《蜘蛛侠》三部曲中,亚洲和黑人角色的代表
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-07-28 DOI: 10.1080/15295036.2023.2238803
Jolie C. Matthews, Dustin Tran
ABSTRACT This article examines the portrayal of Asian and Black characters in Sony/Marvel Studios’ Spider-Man trilogy. We analyze Ned Leeds, Brad Davis, Liz Allan, and M.J. “Michelle Jones-Watson,” as well as minor characters, through the lens of racial triangulation (Kim, 1999). We focus not only on traditional white/Asian/Black comparisons across racial groups, but also on sub-triangulations within groups, such as positioning Black women in comparison to other Black women or Black men, or Asian men to other Asian men or Asian women, along with comparisons to white representations. Despite the trilogy’s diverse cast, Ned, Brad, Liz, and M.J. remain separated from and in opposition to one another, with their existence and purpose constructed around their relationship and/or relevance to Peter Parker (Spider-Man), the white main character. The trilogy furthermore employs long-standing stereotypes about people of Asian and Black descent to help maintain whiteness at the top of all triangulations. We argue for a greater need to push beyond surface representations of “diversity” to consider how media actually represent different groups.
本文探讨了索尼/漫威工作室的《蜘蛛侠》三部曲中亚洲和黑人角色的塑造。我们分析内德·利兹、布拉德·戴维斯、莉兹·艾伦和M.J.“米歇尔·琼斯-沃森”,以及次要人物,通过种族三角视角(Kim, 1999)。我们不仅关注种族群体之间传统的白人/亚洲人/黑人比较,还关注群体内部的子三角关系,例如将黑人女性与其他黑人女性或黑人男性进行比较,或将亚洲男性与其他亚洲男性或亚洲女性进行比较,以及与白人代表的比较。尽管《蜘蛛侠》三部曲的演员阵容多样化,内德、布拉德、莉兹和M.J.仍然彼此分离,彼此对立,他们的存在和目的都是围绕着他们与白人主角彼得·帕克(蜘蛛侠)的关系和/或相关性而构建的。此外,三部曲还采用了长期以来对亚洲人和黑人后裔的刻板印象,以帮助维持白人在所有三角关系中的最高地位。我们认为更有必要超越“多样性”的表面表现,考虑媒体实际上如何代表不同的群体。
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引用次数: 0
Latin Blackness in Parisian visual culture, 1852–1932 巴黎视觉文化中的拉丁黑人,1852-1932
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-07-26 DOI: 10.1080/15295036.2023.2237104
Anna E. Lindner
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引用次数: 0
Imagining China: China’s images in the world of new media 想象中国:中国在新媒体世界中的形象
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2225575
Zhao Mei
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引用次数: 0
“I’m real when I shop my face”: Glitch virality & Sophie’s cyborg dream “当我化妆的时候,我是真实的”:故障病毒式传播和苏菲的机器人梦
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2228373
Tyler S. Rife
ABSTRACT This essay aims to contribute to ongoing explorations of glitch feminism and its capacities for resistance against capitalist- and cis-normativity. To this theoretical project, I contribute the concept of glitch virality by emphasizing glitch feminism’s circulation across digital, social, and material registers. Through an attendance to glitch virality, the project of glitch feminism is figured as a queer worldmaking project for those subject to the violences of dominative gendered constructs. To demonstrate this concept, I conduct a close reading of the music, visual texts, and multimodal circulations of glitch by electronic artist SOPHIE, whose enactments of glitch feminism demonstrate its viral capacities.
本文旨在探讨故障女性主义及其抵抗资本主义和顺式规范的能力。在这个理论项目中,我通过强调故障女权主义在数字、社会和物质领域的循环,贡献了故障病毒式传播的概念。通过对故障病毒式传播的关注,故障女权主义项目被认为是一个为那些受支配性性别结构暴力影响的人打造酷儿世界的项目。为了证明这一概念,我仔细阅读了电子艺术家SOPHIE的音乐、视觉文本和glitch的多模态循环,她对glitch女权主义的演绎展示了它的病毒式传播能力。
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引用次数: 0
Framing women’s indignation: news coverage on women’s mobilization in Mexico, 2019–2021 构建女性的愤慨:2019-2021年墨西哥妇女动员的新闻报道
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2228383
Marta Ochman, María Ingrid Sada Correa, José Ibarra, L. Alejandra, Jacobo Rangel
ABSTRACT Women’s mobilizations in Mexico have caused controversy due to violent protest strategies. Also, the government discredited them as being manipulated by the conservative opposition. This study analyzes press coverage of women's mobilizations from 2019 to 2021 in three Mexican newspapers with different ideological orientations, applying frame analysis. The findings point to the predominant frames in the three newspapers as legitimizing the mobilization. However, although the ideological orientation of a newspaper is relevant, it does not automatically define a preference for specific frames, suggesting that the novelty of a phenomenon translates into a more significant interaction between the creators and receivers of the frames.
墨西哥的妇女动员由于暴力抗议策略而引起争议。此外,政府指责他们被保守的反对派操纵。本研究运用框架分析法,分析了墨西哥三家不同意识形态取向的报纸在2019年至2021年对妇女动员的新闻报道。调查结果指出,三家报纸的主要框架使动员合法化。然而,尽管报纸的意识形态取向是相关的,但它并不能自动定义对特定框架的偏好,这表明一种现象的新颖性转化为框架的创造者和接受者之间更重要的互动。
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引用次数: 0
Rebirthing a nation: White women, identity politics, and the internet 一个国家的重生:白人女性、身份政治和互联网
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2225580
Cecilia Salomone
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引用次数: 0
It gets better when you fall in Love on the Spectrum 当你在频谱上坠入爱河时,一切都会变得更好
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2228377
E. Ryalls
ABSTRACT Love on the Spectrum (2019–) premiered on Netflix in July 2020. The reality television show follows young autistic adults in Australia as they date, fall in love, and get married. I argue Love on the Spectrum (LOTS) ignores the marginalizing forces of ableist structures in favor of telling individual “supercrip” stories of autistic success that are grounded in heteronormative conventions of the romantic comedy genre. Specifically, I suggest LOTS sends a message to the loved ones of autistic people that “It Gets Better” through a classist and heteronormative narrative that suggests the problems of autism—familial dependence and being nonverbal—can be solved through heterosexual love and societal tolerance. LOTS erases queer identities (i.e. asexuality and bisexuality) to normalize neurodiversity and reinforce heteronormativity. The show calls on its presumed neurotypical audience to root for the “right” kind of autists — those who are palatable and place romance before personal interests—while problematically marking as strange and laughable autists who are too far removed from neurotypicality.
《频谱之恋》(2019 -)于2020年7月在Netflix首播。这部真人秀节目讲述了澳大利亚年轻的自闭症成年人约会、恋爱和结婚的故事。我认为《频谱上的爱》(LOTS)忽略了残疾主义结构的边缘化力量,而倾向于讲述基于浪漫喜剧类型的异性恋规范惯例的自闭症成功的个人“超级”故事。具体来说,我认为《lot》通过一种阶级主义和异性恋规范的叙事方式,向自闭症患者的亲人传达了一个信息:“一切都会好起来的”,这表明自闭症的问题——家庭依赖和沉默寡言——可以通过异性恋的爱和社会的宽容来解决。lot消除了酷儿身份(即无性恋和双性恋),使神经多样性正常化,并加强了异性恋的规范性。该节目呼吁其假定的神经正常的观众支持“正确”类型的自闭症——那些令人愉快的,把爱情放在个人利益之前的人——而有问题的是,他们被标记为与神经典型相去甚远的奇怪和可笑的自闭症患者。
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引用次数: 0
Understanding transnational decontextualization-recontextualization through Shingeki no Kyojin: The perils and possibilities surrounding Japanese manga and anime 理解跨国界的去语境化——通过《新木之京真》重新语境化:围绕日本漫画和动画的危险和可能性
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2228390
F. Montgomery, Megu Itoh
ABSTRACT Japanese anime has continued to gain recognition as one of the strongest cultural influences in a globalized world. We examine how the transnational process of decontextualization-recontextualization can shift the messages of popular culture texts as situated in differing collective memories. To highlight this process, we analyze Shingeki no Kyojin (known to English-speaking audiences as Attack on Titan). Shingeki no Kyojin provides insightful grounds for analysis given its tremendous popularity in both Japan and beyond, its message of resistance against U.S. militarism, and its recontextualized uptake by the American alt-right, even including an Arizona congressman. Our analysis reveals the importance of understanding popular culture alongside context and the impact of decontextualized-recontextualized transformations of meaning on transnational processes of collective memory discourse.
在全球化的世界里,日本动漫一直被认为是最具影响力的文化之一。我们研究了跨国界的去语境化-再语境化过程如何将位于不同集体记忆中的流行文化文本的信息转移。为了突出这一过程,我们分析了《新木京真》(英语观众称为《攻击泰坦》)。考虑到《新树京真》在日本和其他国家的巨大人气,它传递的抵制美国军国主义的信息,以及它被美国另类右翼(甚至包括亚利桑那州的一名国会议员)重新语境化的吸收,《新树京真》提供了深刻的分析依据。我们的分析揭示了理解流行文化与语境的重要性,以及去语境化-再语境化的意义转换对集体记忆话语跨国过程的影响。
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引用次数: 0
Mediating Maggie: Margaret Thatcher, leadership, and gender in The Iron Lady and The Crown 调解玛吉:《铁娘子》和《王冠》中的玛格丽特·撒切尔、领导力和性别
IF 1 2区 文学 Q3 COMMUNICATION Pub Date : 2023-05-27 DOI: 10.1080/15295036.2023.2229898
Leland G. Spencer, Timothy S. Forest
ABSTRACT Political women who lead with firmness get castigated as heartless. Margaret Thatcher represents that stereotype, most concisely captured in the sobriquet “Iron Lady.” We argue that the film The Iron Lady and the Netflix series The Crown offer versions of Thatcher that critique Thatcher’s supposed failures of femininity. Rather than centering their framing of Thatcher on the harms of her policies, these texts excoriate her for her parenting and her inappropriately masculine style. We conclude by asking how we might remember public figures in ways that offer critical analyses of policies without resorting to sexist tropes.
坚定领导的政治女性被批评为无情。玛格丽特·撒切尔(Margaret Thatcher)就是这种刻板印象的代表,她的绰号“铁娘子”(Iron Lady)最为简洁。我们认为,电影《铁娘子》和Netflix电视剧《王冠》提供了撒切尔的不同版本,批评了撒切尔在女性气质方面的所谓失败。这些文章并没有把对撒切尔的评价集中在她政策的危害上,而是严厉批评她的育儿方式和她不恰当的男性化风格。最后,我们提出了一个问题,我们如何才能在不诉诸性别歧视的情况下,以对政策进行批判性分析的方式记住公众人物。
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引用次数: 0
期刊
Critical Studies in Media Communication
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