Pub Date : 2023-08-02DOI: 10.1080/15295036.2023.2237095
Tira J. Murray
"Sustaining black music and culture during COVID-19: #Verzuz and Club Quarantine." Critical Studies in Media Communication, ahead-of-print(ahead-of-print), pp. 1–2
{"title":"Sustaining black music and culture during COVID-19: #Verzuz and Club Quarantine","authors":"Tira J. Murray","doi":"10.1080/15295036.2023.2237095","DOIUrl":"https://doi.org/10.1080/15295036.2023.2237095","url":null,"abstract":"\"Sustaining black music and culture during COVID-19: #Verzuz and Club Quarantine.\" Critical Studies in Media Communication, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135015528","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 : 2023-08-01DOI: 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.
{"title":"The politics of Digital India: between local compulsions and transnational pressures","authors":"A. Babu","doi":"10.1080/15295036.2023.2239906","DOIUrl":"https://doi.org/10.1080/15295036.2023.2239906","url":null,"abstract":"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.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81135921","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 : 2023-07-28DOI: 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.
{"title":"Still never at the top: representation of Asian and Black characters in Sony/Marvel Studios’ Spider-Man trilogy","authors":"Jolie C. Matthews, Dustin Tran","doi":"10.1080/15295036.2023.2238803","DOIUrl":"https://doi.org/10.1080/15295036.2023.2238803","url":null,"abstract":"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.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78404581","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 : 2023-07-26DOI: 10.1080/15295036.2023.2237104
Anna E. Lindner
{"title":"Latin Blackness in Parisian visual culture, 1852–1932","authors":"Anna E. Lindner","doi":"10.1080/15295036.2023.2237104","DOIUrl":"https://doi.org/10.1080/15295036.2023.2237104","url":null,"abstract":"","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82326350","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: 10.1080/15295036.2023.2225575
Zhao Mei
{"title":"Imagining China: China’s images in the world of new media","authors":"Zhao Mei","doi":"10.1080/15295036.2023.2225575","DOIUrl":"https://doi.org/10.1080/15295036.2023.2225575","url":null,"abstract":"","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79607963","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: 10.1080/15295036.2023.2228373
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.
{"title":"“I’m real when I shop my face”: Glitch virality & Sophie’s cyborg dream","authors":"Tyler S. Rife","doi":"10.1080/15295036.2023.2228373","DOIUrl":"https://doi.org/10.1080/15295036.2023.2228373","url":null,"abstract":"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.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84271264","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: 10.1080/15295036.2023.2228383
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.
{"title":"Framing women’s indignation: news coverage on women’s mobilization in Mexico, 2019–2021","authors":"Marta Ochman, María Ingrid Sada Correa, José Ibarra, L. Alejandra, Jacobo Rangel","doi":"10.1080/15295036.2023.2228383","DOIUrl":"https://doi.org/10.1080/15295036.2023.2228383","url":null,"abstract":"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.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79629428","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: 10.1080/15295036.2023.2228377
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.
{"title":"It gets better when you fall in Love on the Spectrum","authors":"E. Ryalls","doi":"10.1080/15295036.2023.2228377","DOIUrl":"https://doi.org/10.1080/15295036.2023.2228377","url":null,"abstract":"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.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89663255","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: 10.1080/15295036.2023.2225580
Cecilia Salomone
{"title":"Rebirthing a nation: White women, identity politics, and the internet","authors":"Cecilia Salomone","doi":"10.1080/15295036.2023.2225580","DOIUrl":"https://doi.org/10.1080/15295036.2023.2225580","url":null,"abstract":"","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73625944","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: 10.1080/15295036.2023.2229898
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.
{"title":"Mediating Maggie: Margaret Thatcher, leadership, and gender in The Iron Lady and The Crown","authors":"Leland G. Spencer, Timothy S. Forest","doi":"10.1080/15295036.2023.2229898","DOIUrl":"https://doi.org/10.1080/15295036.2023.2229898","url":null,"abstract":"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.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81167985","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}
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