Pub Date : 2023-05-27DOI: 10.1080/15295036.2023.2225572
Gao Jingquan
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Pub Date : 2023-05-27DOI: 10.1080/15295036.2023.2229418
K. J. Rudrow
ABSTRACT This essay argues that coming out narratives shared by Black queer youth on YouTube can be understood as a quare vernacular discourse that captures their rhetorical moves, illuminates their material realities, and participates in Black queer worldmaking. Recognizing that much remains uncharted about how Black queer youth use social media, I extend quare vernacular discourse to examine the material intersections of race and sexuality, and expand quare theory to include these otherwise hidden rhetorics. First, I work from 27 coming out narratives on YouTube to argue that narrators use their stories to articulate how they navigate quare material vulnerability. Second, I contend that narrators’ quare vernacular discourse illuminates how Black queer boys and young men are motivated to share their stories, helping to sustain a quare vernacular community. Expanding quare possibilities and adding to an online communal knowledge pool, narrators, much like mentors, use their stories to guide vulnerable Black queer youth who may have few role models or no support structures.
{"title":"Quare vernacular discourse: vulnerability, mentorship, and coming out on YouTube","authors":"K. J. Rudrow","doi":"10.1080/15295036.2023.2229418","DOIUrl":"https://doi.org/10.1080/15295036.2023.2229418","url":null,"abstract":"ABSTRACT This essay argues that coming out narratives shared by Black queer youth on YouTube can be understood as a quare vernacular discourse that captures their rhetorical moves, illuminates their material realities, and participates in Black queer worldmaking. Recognizing that much remains uncharted about how Black queer youth use social media, I extend quare vernacular discourse to examine the material intersections of race and sexuality, and expand quare theory to include these otherwise hidden rhetorics. First, I work from 27 coming out narratives on YouTube to argue that narrators use their stories to articulate how they navigate quare material vulnerability. Second, I contend that narrators’ quare vernacular discourse illuminates how Black queer boys and young men are motivated to share their stories, helping to sustain a quare vernacular community. Expanding quare possibilities and adding to an online communal knowledge pool, narrators, much like mentors, use their stories to guide vulnerable Black queer youth who may have few role models or no support structures.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":"112 1","pages":"121 - 135"},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80704487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-27DOI: 10.1080/15295036.2023.2228382
Anna Posbergh, Samuel M. Clevenger, Caitlin E. Kane
ABSTRACT To solidify itself as a socially progressive global brand, the U.S.-based sports apparel corporation Nike produces and distributes advertisements featuring women from around the world as empowered, independently motivated athletes, capable of transcending all boundaries through their pursuit of athletic excellence. Some advertisements feature celebrity non-Western athletes such as South African track and field star Caster Semenya as part of an overall marketing message founded on the purportedly universal ideal of “girl power.” This article argues that Nike’s global pro-women advertising can be understood as a Western-centric, neoliberal, postfeminist branding strategy that reinforces existing social inequalities and reproduces the economic exploitation endemic to contemporary capitalism. The article analyzes three of Nike’s advertisements from 2018 featuring Caster Semenya, focusing on how each universalize and normalize particularly Western, neoliberal, postfeminist ideals. Attention is given to the advertisements’ reliance on the specific neoliberal postfeminist themes of individual empowerment and Western-centered gender norms.
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Pub Date : 2023-05-27DOI: 10.1080/15295036.2023.2229424
Guodong Jiang, Mengyuan Zhu
and conflict reduction. Based on the continuous popularization of network technology, modern media has become a powerful tool for creating peace. Peace journalists should also pay attention to the discursive power of mainstream media. Ogenga discusses the lack of public discourse in the mainstream print media in Kenya, the original intention of which was to reduce conflicts. In practice, however, it often brings about a surge in confrontation (Chapter 4). The book introduces the case of using the media to intervene in the conflict in Abakuria in Kenya to acknowledge that the media can both achieve peace and provoke conflict. Establishing media that can respond rapidly to changing conditions is often the best practice for media frameworks (Chapter 5). But there are still some problems with the attainment of the ideal of peace journalism beyond those addressed in this book. First, the realization of peace journalism relies on journalists with good morality and peaceful inclinations. It is difficult for journalists to achieve both objective and fair reporting, and the responsibility to speak out for vulnerable people. At the same time, the government or both sides in a conflict will often mobilize powerful media forces to suppress the community influence of peace journalism and to reduce or eliminate its influence on public opinion. Finally, journalists of peace are not necessarily local to conflict areas. If foreign journalists collect media materials in the name of peace journalism, will they be mistrusted and suspected of interfering in the internal politics of high-conflict countries? Human nature, the trade-off of professional ethics, the evaluation of media power, and the avoidance of political and personal risk should be given priority in future research. Only with love for the media profession and ardent desire to resolve conflicts and seek peace can peace journalists truly help the people of East Africa to live peaceful and stable lives.
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Pub Date : 2023-01-01DOI: 10.1080/15295036.2023.2204132
Damariyé L. Smith
ABSTRACT Recently, there has been a resurgence of academic interest in the lived experiences of Black males. One way that scholars have approached the field of Black male studies is by examining the susceptibility of Black men and boys in various contexts, commonly referred to as Black male vulnerability. In this essay, I utilize the song “Not You Too” by the Hip-Hop/R&B artist Drake as a case study to explore the ways Black men, through music, may communicate their vulnerability in the context of romantic relationships. Through a rhetorical analysis, I argue that Drake (re)articulates the notion of Black masculinity by communicating his vulnerability through recognition of his struggles of trust, willingness to forgive, and critical reflection of the power dynamics within his romantic relationship. I conclude by asserting that it is vital to study the communicative realities and sensibilities of Black men by engaging in both interpretative and empirical analysis to liberate Black males.
最近，学术界对黑人男性的生活经历重新产生了兴趣。学者们进入黑人男性研究领域的一种方法是研究黑人男性和男孩在各种情况下的易感性，通常被称为黑人男性脆弱性。在这篇文章中，我以Hip-Hop/R&B艺术家德雷克的歌曲“Not You Too”为例，探讨黑人男性在恋爱关系中通过音乐表达自己脆弱的方式。通过修辞分析，我认为德雷克(重新)表达了黑人男子气概的概念，通过承认他的信任斗争，愿意原谅，以及对他的浪漫关系中的权力动态的批判性反思，传达了他的脆弱性。最后，我断言，通过解释分析和实证分析来研究黑人男性的交际现实和情感对于解放黑人男性至关重要。
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Pub Date : 2023-01-01DOI: 10.1080/15295036.2023.2204140
Y. Arifani, Nur Hidayat, Nur Naily, N. Asyik
cosmopolitanism and consumerism. The first case study focuses on Alex, a gay Australian nurse in the RTÉ medical drama The Clinic (2003–2009), who is framed as modern, cosmopolitan, and neoliberal. The second case study, crime drama Proof (2004–2005), analyzes two characters on the fringes of the Celtic Tiger economy who, through their portrayal as marginal, challenge stereotypical narratives around gay culture prevalent in The Clinic. In the conclusion, it is argued that LGBTQ activism created much of the media visibility achieved during the successful 2015 same-sex marriage referendum. Respectability and mainstreaming are shown to have been mainstays of the campaign, similar to activist strategies of the 1970s. Kerrigan concludes by calling for more diverse approaches in queer media research and expresses concern that transgender people, bisexuals, and lesbians remain underrepresented in such research. This book is an excellent contribution to the fields of queer studies and media studies and breaks new ground in its sophisticated analysis of LGBTQ visibility in Irish media. Through focusing on the interplay of visibility and normalization, it highlights the tensions surrounding respectability politics and minority representation. Despite the complexity of the theoretical material, the book is very readable and Kerrigan makes masterful use of diverse primary sources. While acknowledging the need to limit the scope of any study, the claim in the title to cover media is somewhat misleading, given that this is a book almost entirely about television, or in fact RTÉ alone. Given that dominance, the decision in Chapter 4 to briefly sidestep into the queer press and independent documentaries (which ended up being shown on RTÉ anyway) is tokenistic. It would have been preferable to present this as a book about RTÉ while providing an overview of other media in the introduction. For instance, the diverse Irish pirate radio scene in the 1980s and licensed community media since the 1990s both provided innovative spaces for queer representation. Similarly, Kerrigan gives no credit to Irish language television channel TG4, which included a gay couple in its soap opera when it launched in 1996. A discussion of such material would enrich the analysis about the reframing of Irish national identity during the Celtic Tiger era broached in Chapter 6.
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Pub Date : 2023-01-01DOI: 10.1080/15295036.2023.2207312
Rachel Griffin, Kimberly R. Moffitt
Much can be said about the far-reaching impact of the COVID-19 pandemic: omnipresent threats to democracy in the U.S. and abroad; global surges of anti-Semitic, racist, and white supremacist violence; steadily unfolding consequences of the contentious 2020 U.S. presidential election; and nefarious upticks in anti-LGBTQIA+ bills, policy, and laws. Increasingly characterized by polarization and fragmentation, our cultural landscape offers a great deal to reflect upon, question, mourn, and resist. Yet, there are also glimmers of hope and societal transformation lighting our path forward. Gen Z has proven itself highly effective at utilizing social media to raise climate change awareness and impact policy; artificial intelligence, including ChatGPT, has the potential to generate new solutions to some of humanity’s oldest problems; and the stories told by Indigenous and women of color filmmakers continue to gain prominence. Turning our attention inward, the National Communication Association (NCA) has transformed what began as shining moments worthy of celebration into material achievements that re/shape our discipline. Foremost is Dr. Shari Miles-Cohen’s competitive selection as NCA’s Executive Director, the first African American woman to serve in this role. Since 2013, when the IDEA Council became part of the executive leadership structure, NCA has consistently leveled up its prioritization of inclusion, diversity, equity, and access (IDEA) throughout the organization. Recent efforts include remedying exclusionary awards practices, welcoming three new caucuses as interest groups (Caribbean Communication; Indigenous; and South West Asian/North African, Middle East), and further diversifying its journal editorships and editorial boards. The lack of intersectional diversity represented among journal editors and editorial boards can be traced back to the origination of 11 of NCA’s 12 journals. Recounted in the 2021 IDEA Task Force Report, NCA formally acknowledged exclusionary barriers in our discipline’s publication processes via the 1988–1990 Speech Communication Association Taskforce on Affirmative Action. In 2018, scholar–activists led a renewed call to remove structural barriers that discourage scholars of color and Others who identify with marginalized populations from applying and/or earning these appointments (Inclusion, Diversity, Equity, and Access Strategic Planning Task Force [IDEA], 2022a, p. 1; see also IDEA, 2022b). NCA’s newest journal, Communication & Race, acknowledges and addresses our discipline’s need to “counteract the ongoing exclusions of scholars and scholarship related
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Pub Date : 2023-01-01DOI: 10.1080/15295036.2023.2186458
J. Walsh
deconstruction of sexuality, race, and gender and the rise of reality television. She maintains that reality television evolved to feed a consumer culture in which societal taboos are set aside in favor of selling sex and violence. Dedicating an entire chapter to reality television meeting reality, Bordo traces reality television’s evolution from documentary-style programming to the current bombastic, violent, and sex-fueled programming, characteristics also representative of Trumpism. Within this context, Trump became the U.S.’s first reality television President. In response, Bordo quips, “It’s left to the fictional side of television to adequately represent our reality— which ironically doesn’t feel like reality anymore at all” (p. 132). This statement is significant given the notable disconnect from reality that was at one time prevalent on U.S. television. For example, with its idyllic settings, lack of diversity, and reinforcement of the patriarchy, 1950s and 1960s television sitcoms contradicted a social context that included the Civil Rights and Women’s Movements and Vietnam War. For those who grew up during the golden age of television (1948–1959) and/or study television, TV (Object Lessons) will be an enjoyable and valuable read. Readers in the first category might revel in revisiting the programming of their youth, while researchers and academics might find the brief history of television in the U.S. useful. As a self-described popular culture fiend who dedicated her life to the field, Bordo adeptly weaves together the stories of how television evolved, changed the country’s social and cultural norms, and gave rise to Trump. Through TV (Object Lessons), Bordo’s long relationship with television offers insight into the current political climate in the U.S. However, as one person’s experience with television, this book does not serve as (nor is it intended to be) a robust or scholarly account of the media.
{"title":"Review of LGBTQ Visibility, Media and Sexuality in Ireland","authors":"J. Walsh","doi":"10.1080/15295036.2023.2186458","DOIUrl":"https://doi.org/10.1080/15295036.2023.2186458","url":null,"abstract":"deconstruction of sexuality, race, and gender and the rise of reality television. She maintains that reality television evolved to feed a consumer culture in which societal taboos are set aside in favor of selling sex and violence. Dedicating an entire chapter to reality television meeting reality, Bordo traces reality television’s evolution from documentary-style programming to the current bombastic, violent, and sex-fueled programming, characteristics also representative of Trumpism. Within this context, Trump became the U.S.’s first reality television President. In response, Bordo quips, “It’s left to the fictional side of television to adequately represent our reality— which ironically doesn’t feel like reality anymore at all” (p. 132). This statement is significant given the notable disconnect from reality that was at one time prevalent on U.S. television. For example, with its idyllic settings, lack of diversity, and reinforcement of the patriarchy, 1950s and 1960s television sitcoms contradicted a social context that included the Civil Rights and Women’s Movements and Vietnam War. For those who grew up during the golden age of television (1948–1959) and/or study television, TV (Object Lessons) will be an enjoyable and valuable read. Readers in the first category might revel in revisiting the programming of their youth, while researchers and academics might find the brief history of television in the U.S. useful. As a self-described popular culture fiend who dedicated her life to the field, Bordo adeptly weaves together the stories of how television evolved, changed the country’s social and cultural norms, and gave rise to Trump. Through TV (Object Lessons), Bordo’s long relationship with television offers insight into the current political climate in the U.S. However, as one person’s experience with television, this book does not serve as (nor is it intended to be) a robust or scholarly account of the media.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":"507 1","pages":"71 - 73"},"PeriodicalIF":1.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80158813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1080/15295036.2022.2147972
Michael G. Lacy
ABSTRACT This essay offers a critical rhetorical analysis of neoconservative filmmaker Dinesh D'Souza's popular political documentary film, 2016: Obama's America. I argue that the documentary's narrative emulates conservative Black Frankenstein stories, whereby a monstrous black slave revolts against his white slave owner, justifying a violent white backlash to restore white supremacy [Young, E. (2008). Black Frankenstein: The making of an American metaphor. New York: New York University Press]. Obama's America re-presents overt and inferential antiblack racist caricatures that depict President Obama as a ruling mixed mulatto monstrosity determined to destroy America. I argue that D'Souza's documentary aimed to revive extreme white conservative resistance to Obama's presidency, specifically by equating Obama's 2012 re-election with America's looming economic collapse and escalating threats of Islamist terrorism. To deflect racist accusations, D'Souza adopts a journalistic persona and re-presents a colonial narrative, which suggests that racism and colonialism no longer exist, thereby sanitizing and idealizing contemporary America neocolonialism. Finally, I argue that the popular conservative depictions of Obama as a menacing mulatto monster destroying America were precursors of a white backlash against America's first black U.S. president and his multicultural coalition, culminating in Donald Trump's presidential victory in 2016.
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