Pub Date : 2023-11-10DOI: 10.1177/13675494231209762
Daniel Darvay
This essay explores the shifting matrix underlying the pervasive theater that enacts the making and unmaking of human subjectivity by focusing on key historical transformations and prominent contemporary manifestations. Offering a comparative analysis of Denis Diderot’s theory of the actor, and Antonin Artaud’s theater of cruelty, I argue that the paradox of the human had led to human–artwork hybrids well before the digital age of the posthuman recast the body as virtuality. Drawing on a broader understanding and scope of human–artwork hybridization, I examine two different yet equally memorable and infamous responses in 2015 to the European refugee crisis: the Petra László video and Norbert Baksa’s Der Migrant. The aesthetic and cultural practices revolving around the staging of the European refugee crisis constitute a key sphere in which this hybridization is tested, played out and in the context of East-Central Europe, calibrated to a ballad tradition whose generic conventions were reinvented in conjunction with a growing national identity in the 19th century. The ballad of ‘The Walled-Up Wife’ has enjoyed sustained popularity in East-Central Europe, ever since its anachronistic ‘rediscovery’ in multiple national literatures around the mid 1800s. It deserves critical attention, for its extensive cultural history as well as its rich vernacular heritage can shed new light on the ways in which the idea of material embodiment comes to bear extended meanings for a reconceptualization of the human in digital spaces of aesthetic rather than merely socio-political signification.
{"title":"We have never been human: Staging subjectivity from Diderot and Artaud to the aesthetics of the European refugee crisis","authors":"Daniel Darvay","doi":"10.1177/13675494231209762","DOIUrl":"https://doi.org/10.1177/13675494231209762","url":null,"abstract":"This essay explores the shifting matrix underlying the pervasive theater that enacts the making and unmaking of human subjectivity by focusing on key historical transformations and prominent contemporary manifestations. Offering a comparative analysis of Denis Diderot’s theory of the actor, and Antonin Artaud’s theater of cruelty, I argue that the paradox of the human had led to human–artwork hybrids well before the digital age of the posthuman recast the body as virtuality. Drawing on a broader understanding and scope of human–artwork hybridization, I examine two different yet equally memorable and infamous responses in 2015 to the European refugee crisis: the Petra László video and Norbert Baksa’s Der Migrant. The aesthetic and cultural practices revolving around the staging of the European refugee crisis constitute a key sphere in which this hybridization is tested, played out and in the context of East-Central Europe, calibrated to a ballad tradition whose generic conventions were reinvented in conjunction with a growing national identity in the 19th century. The ballad of ‘The Walled-Up Wife’ has enjoyed sustained popularity in East-Central Europe, ever since its anachronistic ‘rediscovery’ in multiple national literatures around the mid 1800s. It deserves critical attention, for its extensive cultural history as well as its rich vernacular heritage can shed new light on the ways in which the idea of material embodiment comes to bear extended meanings for a reconceptualization of the human in digital spaces of aesthetic rather than merely socio-political signification.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":" 965","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135186849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-08DOI: 10.1177/13675494231207913
Emma-Lee Amponsah
This article presents a conceptualization and exploration of ‘Black dis/engagement’, which refers to Black people’s ‘non-presence’ in mainstream media and involves a simultaneous engagement with grassroots community media that divert – to various degrees – from the norms of white respectability. Based on 20 in-depth interviews with media practitioners (journalists, writers, digital media producers, and activists) of Black African descent in Belgium, this study challenges popular media diversity discourses that equate mainstream media visibility and engagement with social progress and disengagement with quite the opposite: an alarming loss. Drawing on Black ontology and feminist epistemologies of refusal rooted in histories of marronage and Black fugitivity, the study sheds light on how Black people create, write, and engage outside the mainstream, and examines the possibilities and limitations that Black individuals can encounter along the way. The study reveals that while some Black critical voices have found platforms within mainstream media, there is increasing skepticism and questioning among Black individuals and communities toward mainstream media infrastructures and cultures. Centering Black people’s agency and decentering the demands of dominant media cultures, the article sheds light on the diverse ways in which Black people have withdrawn from mainstream media, established digital community spaces, and engaged in various forms of community activities. Recognizing the fluid and contextual nature of Black dis/engagement, the author underscores the importance of valuing and understanding the diverse strategies employed by Black individuals and communities to navigate and resist oppressive media systems.
{"title":"Black dis/engagement: negotiating mainstream media presence and refusal","authors":"Emma-Lee Amponsah","doi":"10.1177/13675494231207913","DOIUrl":"https://doi.org/10.1177/13675494231207913","url":null,"abstract":"This article presents a conceptualization and exploration of ‘Black dis/engagement’, which refers to Black people’s ‘non-presence’ in mainstream media and involves a simultaneous engagement with grassroots community media that divert – to various degrees – from the norms of white respectability. Based on 20 in-depth interviews with media practitioners (journalists, writers, digital media producers, and activists) of Black African descent in Belgium, this study challenges popular media diversity discourses that equate mainstream media visibility and engagement with social progress and disengagement with quite the opposite: an alarming loss. Drawing on Black ontology and feminist epistemologies of refusal rooted in histories of marronage and Black fugitivity, the study sheds light on how Black people create, write, and engage outside the mainstream, and examines the possibilities and limitations that Black individuals can encounter along the way. The study reveals that while some Black critical voices have found platforms within mainstream media, there is increasing skepticism and questioning among Black individuals and communities toward mainstream media infrastructures and cultures. Centering Black people’s agency and decentering the demands of dominant media cultures, the article sheds light on the diverse ways in which Black people have withdrawn from mainstream media, established digital community spaces, and engaged in various forms of community activities. Recognizing the fluid and contextual nature of Black dis/engagement, the author underscores the importance of valuing and understanding the diverse strategies employed by Black individuals and communities to navigate and resist oppressive media systems.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"89 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135341776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-08DOI: 10.1177/13675494231208501
Emily Coleman
Relationships between documentary-makers and their subjects are a core concern of the scholarship, typically analysed in relation to issues of power and exploitation. This article instead considers documentary relationships as a form of work, examining what it means when a job entails the production of intimate connections, which are also subject to commercial pressures and imperatives. Relationship-building is an intrinsic part of the filmmaker’s job, but takes place around its margins: often unpaid and unacknowledged by the media industries. A consequence of this lack of status and recognition is that an appropriate professional framework has yet to be developed, with worrying implications for training, regulation and duty of care. Drawing upon in-depth interviews conducted over a period of 4 years, this article conceptualises the work of documentary relationships as a practice of creative labour, by considering how they function interpersonally, procedurally and organisationally. Through a discussion of emotional labour, I will explore how the permeability between work life and intimacy impacts both filmmakers and contributors alike, considering the various ways their experiences take shape within the structural context of contemporary media production.
{"title":"The work of documentary relationships","authors":"Emily Coleman","doi":"10.1177/13675494231208501","DOIUrl":"https://doi.org/10.1177/13675494231208501","url":null,"abstract":"Relationships between documentary-makers and their subjects are a core concern of the scholarship, typically analysed in relation to issues of power and exploitation. This article instead considers documentary relationships as a form of work, examining what it means when a job entails the production of intimate connections, which are also subject to commercial pressures and imperatives. Relationship-building is an intrinsic part of the filmmaker’s job, but takes place around its margins: often unpaid and unacknowledged by the media industries. A consequence of this lack of status and recognition is that an appropriate professional framework has yet to be developed, with worrying implications for training, regulation and duty of care. Drawing upon in-depth interviews conducted over a period of 4 years, this article conceptualises the work of documentary relationships as a practice of creative labour, by considering how they function interpersonally, procedurally and organisationally. Through a discussion of emotional labour, I will explore how the permeability between work life and intimacy impacts both filmmakers and contributors alike, considering the various ways their experiences take shape within the structural context of contemporary media production.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"1 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135390429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-08DOI: 10.1177/13675494231208379
Shana Almeida, Agata Lisiak
{"title":"Making the invisible visible","authors":"Shana Almeida, Agata Lisiak","doi":"10.1177/13675494231208379","DOIUrl":"https://doi.org/10.1177/13675494231208379","url":null,"abstract":"","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"85 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135341632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-28DOI: 10.1177/13675494231206385
William Kerr
This article argues that children’s media can be a powerful source for embedding nationalist assumptions from an early age, by looking at Avatar: The Last Airbender and its sequel The Legend of Korra. In the shows, the world is divided into four discrete nations. Drawing on Billig’s concept of banal nationalism, I intend to explore how, despite being critical of nationalism, they nevertheless reinforce and communicate core tenets of national ideology: that nations are the natural way of organising the world. This then leads to wider conclusions about how children’s media can communicate and embed these ideas.
{"title":"Water, earth, fire, air: Banal nationalism and <i>Avatar: The Last Airbender</i>","authors":"William Kerr","doi":"10.1177/13675494231206385","DOIUrl":"https://doi.org/10.1177/13675494231206385","url":null,"abstract":"This article argues that children’s media can be a powerful source for embedding nationalist assumptions from an early age, by looking at Avatar: The Last Airbender and its sequel The Legend of Korra. In the shows, the world is divided into four discrete nations. Drawing on Billig’s concept of banal nationalism, I intend to explore how, despite being critical of nationalism, they nevertheless reinforce and communicate core tenets of national ideology: that nations are the natural way of organising the world. This then leads to wider conclusions about how children’s media can communicate and embed these ideas.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136159418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-26DOI: 10.1177/13675494231209764
Daniel Herbert
{"title":"Book review: Johnny Walker, <i>Rewind, Replay: Britain and the Video Boom, 1978–92</i>","authors":"Daniel Herbert","doi":"10.1177/13675494231209764","DOIUrl":"https://doi.org/10.1177/13675494231209764","url":null,"abstract":"","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"35 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-26DOI: 10.1177/13675494231206789
Yesim Kaptan
{"title":"Book review: Eleftheria J. Lekakis, <i>Consumer Activism: Promotional Culture and Resistance</i>","authors":"Yesim Kaptan","doi":"10.1177/13675494231206789","DOIUrl":"https://doi.org/10.1177/13675494231206789","url":null,"abstract":"","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-13DOI: 10.1177/13675494231206353
Emily Elizabeth Hoyle
{"title":"Book review: Rosalind Gill and Shani Orgad, <i>Confidence Culture</i>","authors":"Emily Elizabeth Hoyle","doi":"10.1177/13675494231206353","DOIUrl":"https://doi.org/10.1177/13675494231206353","url":null,"abstract":"","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135853679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-12DOI: 10.1177/13675494231199065
Emanuela Naclerio, Giulia Giorgi
The article contributes to the studies of digital spaces and women’s action by analysing the case of Amleta, a collective founded during Covid-19 pandemic by a group of Italian theatre actresses. Using a digital ethnographic approach that combines data coming from Amleta’s Instagram account and in-depth interviews with content creators, this study considers how actresses employ digital spaces to challenge violence and discrimination in the workplace. By looking at actresses’ digital action, the study sheds light on the reinterpretation of #metoo narratives and on the construction of non-conventional digital spaces in the struggle for an equal environment in the cultural and creative industries. Given the centrality of informational activism and communicative labour for Amleta’s activities, we argue that knowledge dissemination becomes a political tool, both challenging the status quo and allowing women to move their experiences from an individualised understanding towards a level of collective awareness. The research accounts for how feminist practices can promote social change beyond branded uses of social media platforms.
{"title":"Spotlight on discrimination at work: Italian actresses’ construction of digital spaces of feminist struggle","authors":"Emanuela Naclerio, Giulia Giorgi","doi":"10.1177/13675494231199065","DOIUrl":"https://doi.org/10.1177/13675494231199065","url":null,"abstract":"The article contributes to the studies of digital spaces and women’s action by analysing the case of Amleta, a collective founded during Covid-19 pandemic by a group of Italian theatre actresses. Using a digital ethnographic approach that combines data coming from Amleta’s Instagram account and in-depth interviews with content creators, this study considers how actresses employ digital spaces to challenge violence and discrimination in the workplace. By looking at actresses’ digital action, the study sheds light on the reinterpretation of #metoo narratives and on the construction of non-conventional digital spaces in the struggle for an equal environment in the cultural and creative industries. Given the centrality of informational activism and communicative labour for Amleta’s activities, we argue that knowledge dissemination becomes a political tool, both challenging the status quo and allowing women to move their experiences from an individualised understanding towards a level of collective awareness. The research accounts for how feminist practices can promote social change beyond branded uses of social media platforms.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136013423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-06DOI: 10.1177/13675494231201560
Rowan Aust
This article examines how gratitude influences the practice of British television production workers. It does so through a case study which asked television production workers to consider their work through the prism of gratitude: were they grateful for their work? Using semi-structured interviews, the data revealed that yes, workers were grateful but still identified many punitive working practices. These practices have simultaneously been identified by the industry itself, and there is an improvement discourse through the equity, diversity and inclusivity agendas. I argue here that equity, diversity and inclusivity measures are ineffective – as they have been proven to be elsewhere – because they do not consider the feeling(s), such as gratitude, of working in television. In failing to make this a consideration, equity, diversity and inclusivity work cannot address the inequalities it is there to resolve. This is because understanding the felt experience illuminates the fuller encounter of working in a particular environment. This includes the potential inhibition that gratitude can catalyse through indebtedness. In understanding what these feelings catalyse when cooperating in what they know to be an unfair system, equity, diversity and inclusivity work can be progressed beyond a model predicated on assimilation, to something that achieves substantive change.
{"title":"Equity, diversity and inclusivity: Once more, with feeling","authors":"Rowan Aust","doi":"10.1177/13675494231201560","DOIUrl":"https://doi.org/10.1177/13675494231201560","url":null,"abstract":"This article examines how gratitude influences the practice of British television production workers. It does so through a case study which asked television production workers to consider their work through the prism of gratitude: were they grateful for their work? Using semi-structured interviews, the data revealed that yes, workers were grateful but still identified many punitive working practices. These practices have simultaneously been identified by the industry itself, and there is an improvement discourse through the equity, diversity and inclusivity agendas. I argue here that equity, diversity and inclusivity measures are ineffective – as they have been proven to be elsewhere – because they do not consider the feeling(s), such as gratitude, of working in television. In failing to make this a consideration, equity, diversity and inclusivity work cannot address the inequalities it is there to resolve. This is because understanding the felt experience illuminates the fuller encounter of working in a particular environment. This includes the potential inhibition that gratitude can catalyse through indebtedness. In understanding what these feelings catalyse when cooperating in what they know to be an unfair system, equity, diversity and inclusivity work can be progressed beyond a model predicated on assimilation, to something that achieves substantive change.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135351637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：