Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261951
Aria Halliday, Ashleigh Greene Wade
ABSTRACTShows like Moesha and Fresh Prince both fictionalized and revealed the twentieth-century dreams of Black folks who like Moesha’s family had just established themselves in Lamert Park or like Will had recently left gang and drug-infested urban streets. Friends like Tony and Joan or Khadijah and Maxine typified the friendships that many Black women had just developed in college settings like A Different World. They dated people like Lynn, Kyle, or Martin and created the material wealth that generations past could not access. These Black cultural productions positioned Black people, their conversations and their aspirations, as part of a larger project of inclusion and made our dreams seem possible. Remembering or engaging anew with Black cultural production of the 1990s and 2000s via streaming platforms re-introduced these dreams and the ways that the ‘too-rough fingers of world’ had made them immaterial. Seeing them again, with our new twenty-first-century eyes, forced us to bring our concerns to social media, to visual art and to music – sites where we continue to think, aspire and work collectively to manifest Black futures. The essays in this special issue then take seriously the complex nuances of remembering Blackly through and beyond these cultural productions. We charged the authors to think critically about nostalgia and how Black cultural production in Western contexts has not only shaped our understanding of contemporary discourses, but also in how we shape the future based on the (remembered) past across Black cultures. We hope that these essays provide further insight into the ways our contemporary moment will continue to shape our present and future renderings of the past. In addition, we envision that the authors’ ideas will affect how we access those pasts. Black nostalgia will mould our understanding of everything we think we remember.KEYWORDS: Nostalgiablacknessfuturepasttelevisionfilm Disclosure statementNo potential conflict of interest was reported by the author(s).
{"title":"Editors’ introduction: remembering blackly","authors":"Aria Halliday, Ashleigh Greene Wade","doi":"10.1080/09502386.2023.2261951","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261951","url":null,"abstract":"ABSTRACTShows like Moesha and Fresh Prince both fictionalized and revealed the twentieth-century dreams of Black folks who like Moesha’s family had just established themselves in Lamert Park or like Will had recently left gang and drug-infested urban streets. Friends like Tony and Joan or Khadijah and Maxine typified the friendships that many Black women had just developed in college settings like A Different World. They dated people like Lynn, Kyle, or Martin and created the material wealth that generations past could not access. These Black cultural productions positioned Black people, their conversations and their aspirations, as part of a larger project of inclusion and made our dreams seem possible. Remembering or engaging anew with Black cultural production of the 1990s and 2000s via streaming platforms re-introduced these dreams and the ways that the ‘too-rough fingers of world’ had made them immaterial. Seeing them again, with our new twenty-first-century eyes, forced us to bring our concerns to social media, to visual art and to music – sites where we continue to think, aspire and work collectively to manifest Black futures. The essays in this special issue then take seriously the complex nuances of remembering Blackly through and beyond these cultural productions. We charged the authors to think critically about nostalgia and how Black cultural production in Western contexts has not only shaped our understanding of contemporary discourses, but also in how we shape the future based on the (remembered) past across Black cultures. We hope that these essays provide further insight into the ways our contemporary moment will continue to shape our present and future renderings of the past. In addition, we envision that the authors’ ideas will affect how we access those pasts. Black nostalgia will mould our understanding of everything we think we remember.KEYWORDS: Nostalgiablacknessfuturepasttelevisionfilm Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"306 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135597607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261962
Anna P. Wald
ABSTRACTThis essay asks how the nostalgic attachments to particular Black women’s performances on reality television inform current uses of those images through internet GIFs and memes. Examining the usage and exchange of files depicting the mid-2000s reality television star Tiffany Pollard on Twitter, I compare appropriation of black women’s humour within digital spaces alongside appreciation of ‘bad television’ [McCoy, C.A., and Scarborough, R.C., 2014. Watching “bad” television: ironic consumption, camp, and guilty pleasures. Poetics, 47, 41–59] and the useful potentials of ‘negative’ representation [Gates, R.J., 2018. Double negative: The black image and popular culture. Duke University Press]. Debates about representational politics are complicated when circulating digital images and files that invoke nostalgic response through racialized gendered performances. What does circulation of these GIFs and memes say about nostalgia for a unique moment in reality television where ‘ratchet’ behaviour [Brock, A., 2020. Distributed blackness. New York University Press] was encouraged and the limits of respectability politics were experimented with? Examining how some have labelled exchange of these GIFs as perpetuating ‘digital blackface’ [Jackson, L.M., 2017. We need to talk about digital blackface in reaction GIFs. Teen vogue, 2], I theorize how contemporary accusations of exploiting stereotypical depictions of Black people in order to gain online social capital mirrors the history of American minstrelsy’s purported nostalgia for ‘authentic’ Black performance. As the majority of popular GIFs of Pollard present ‘ugly feelings’ [Ngai, S., 2005. Ugly Feelings. Harvard University Press] such as irritation, resentment and disgust, the relationship between nostalgia for so-called better times, and desire for a recent moment in cable television’s past in which the boundaries of ‘good representation’ were pushed and disregarded become entangled. By looking to animation of disembodied digital images in the use of GIFs as moving image files that are looped, refigured and circulated, I draw attention to new sites of digital racialization, popular culture criticism and examination of digital affect as it corresponds with Black diasporic cultural production.KEYWORDS: Digital blackfaceappropriationdigital affectmemesdigital counterpublicsreality television Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Retrieved from https://twitter.com/chuuzus/status/1338410369547710465 1/10/20212 This account, which I have 6 mutual followers with, but am not personally ‘friends’ with, has 9932 followers as of 1/10/2021.3 Other popular GIFs that depict black women’s performances from reality television include cast members from the Real Housewives of Atlanta and Potomoc, images of Cardi B and other cast members from Love & Hip Hop, and Tyra Banks from America’s Next Top Model. For more on popular memes of black women from reality telev
{"title":"Tiffany Pollard GIFs and nostalgia for the negative","authors":"Anna P. Wald","doi":"10.1080/09502386.2023.2261962","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261962","url":null,"abstract":"ABSTRACTThis essay asks how the nostalgic attachments to particular Black women’s performances on reality television inform current uses of those images through internet GIFs and memes. Examining the usage and exchange of files depicting the mid-2000s reality television star Tiffany Pollard on Twitter, I compare appropriation of black women’s humour within digital spaces alongside appreciation of ‘bad television’ [McCoy, C.A., and Scarborough, R.C., 2014. Watching “bad” television: ironic consumption, camp, and guilty pleasures. Poetics, 47, 41–59] and the useful potentials of ‘negative’ representation [Gates, R.J., 2018. Double negative: The black image and popular culture. Duke University Press]. Debates about representational politics are complicated when circulating digital images and files that invoke nostalgic response through racialized gendered performances. What does circulation of these GIFs and memes say about nostalgia for a unique moment in reality television where ‘ratchet’ behaviour [Brock, A., 2020. Distributed blackness. New York University Press] was encouraged and the limits of respectability politics were experimented with? Examining how some have labelled exchange of these GIFs as perpetuating ‘digital blackface’ [Jackson, L.M., 2017. We need to talk about digital blackface in reaction GIFs. Teen vogue, 2], I theorize how contemporary accusations of exploiting stereotypical depictions of Black people in order to gain online social capital mirrors the history of American minstrelsy’s purported nostalgia for ‘authentic’ Black performance. As the majority of popular GIFs of Pollard present ‘ugly feelings’ [Ngai, S., 2005. Ugly Feelings. Harvard University Press] such as irritation, resentment and disgust, the relationship between nostalgia for so-called better times, and desire for a recent moment in cable television’s past in which the boundaries of ‘good representation’ were pushed and disregarded become entangled. By looking to animation of disembodied digital images in the use of GIFs as moving image files that are looped, refigured and circulated, I draw attention to new sites of digital racialization, popular culture criticism and examination of digital affect as it corresponds with Black diasporic cultural production.KEYWORDS: Digital blackfaceappropriationdigital affectmemesdigital counterpublicsreality television Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Retrieved from https://twitter.com/chuuzus/status/1338410369547710465 1/10/20212 This account, which I have 6 mutual followers with, but am not personally ‘friends’ with, has 9932 followers as of 1/10/2021.3 Other popular GIFs that depict black women’s performances from reality television include cast members from the Real Housewives of Atlanta and Potomoc, images of Cardi B and other cast members from Love & Hip Hop, and Tyra Banks from America’s Next Top Model. For more on popular memes of black women from reality telev","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"194 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135597250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261959
Francesca Sobande
Drawing on Black media, cultural, and digital studies, this work considers the relationship between nostalgia and the media, cultural productions, and experiences of Black people in Britain. Engaging with Hesse's (2000) work on ‘Diasporicity: Black Britain's Post-Colonial Formations', I explore how media representations of Black Britain and connected production processes have changed since the 90s, in ways entwined with Black nostalgia and generational (be)longing. Since Hesse (2000, p. 97) observed that ‘Black Britishness is a discourse whose increasing currency has yet to be conceptualized seriously', research and writing on Black Britishness and Black life in Britain has significantly expanded. Informed by such work, I delve into some of the details of Black media experiences in Britain to consider how Black nostalgia manifests in and through these contexts. Inspired by Ahad-Legardy's (2021) work on ‘Afro-nostalgia' and how visual culture aids archives of Black ‘historical joy', I consider the digitally mediated, comforting, conflicting, and historical nature of Black media nostalgia in Britain, and Black nostalgia more generally. Such discussion distinguishes between Black people's nostalgic media experiences and Black media nostalgia which centers Black creative expression and the kaleidoscopic gazes of Black audiences. Nostalgia's enigmatic quality cannot be comprehended via empirical analysis, alone. Thus, sculpted by understandings of ‘sociopolitical strategies of presence' (Osei 2019, p. 733), this work conceptualizes Black nostalgia in ways based on key media examples, research interviews, researcher reflections and the possibilities and playfulness presented by influx ponderings. Overall, shaped by Hall's (1993; 1997) work on representation and popular culture, this manuscript yields insights regarding dynamics between nostalgia, media, and Black life in Britain. Such work highlights the need for specificity (e.g., whose gaze(s), geographies, generations) when articulating Black people’s experiences in Britain, and the power of nostalgia in Black media and culture, which spans decades and different devices.
借助黑人媒体、文化和数字研究，本作品考虑了怀旧与媒体、文化产品和英国黑人经历之间的关系。与Hesse(2000)的作品《散失性:黑人英国的后殖民形成》相结合，我探索了自90年代以来，黑人英国的媒体表现和相关的生产过程是如何变化的，这些变化与黑人的怀旧和代际渴望交织在一起。自从Hesse (2000, p. 97)观察到“黑人英国性是一种日益流行的话语，但尚未被严肃地概念化”以来，关于黑人英国性和英国黑人生活的研究和写作已经显著扩大。受这些作品的影响，我深入研究了英国黑人媒体经历的一些细节，以思考黑人怀旧是如何在这些背景下表现出来的。受aad - legardy(2021)关于“非洲怀旧”的作品以及视觉文化如何帮助黑人“历史喜悦”档案的启发，我考虑了英国黑人媒体怀旧的数字媒介、安慰、冲突和历史本质，以及更普遍的黑人怀旧。这种讨论区分了黑人的媒介怀旧体验和黑人媒介怀旧，后者以黑人的创造性表达和黑人观众的万花筒般的目光为中心。怀旧的神秘性质不能仅仅通过实证分析来理解。因此，通过对“存在的社会政治策略”的理解(Osei 2019，第733页)，这项工作以基于关键媒体示例、研究访谈、研究人员反思以及涌入思考所呈现的可能性和趣味性的方式将黑人怀旧概念化。总的来说，霍尔(1993;1997)对代表性和流行文化的研究，这份手稿对怀旧、媒体和英国黑人生活之间的动态产生了深刻的见解。这些作品强调了在阐述黑人在英国的经历时对特殊性的需求(例如，谁的目光、地理位置、世代)，以及黑人媒体和文化中怀旧的力量，这种力量跨越了几十年和不同的设备。
{"title":"Black media nostalgia in Britain","authors":"Francesca Sobande","doi":"10.1080/09502386.2023.2261959","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261959","url":null,"abstract":"Drawing on Black media, cultural, and digital studies, this work considers the relationship between nostalgia and the media, cultural productions, and experiences of Black people in Britain. Engaging with Hesse's (2000) work on ‘Diasporicity: Black Britain's Post-Colonial Formations', I explore how media representations of Black Britain and connected production processes have changed since the 90s, in ways entwined with Black nostalgia and generational (be)longing. Since Hesse (2000, p. 97) observed that ‘Black Britishness is a discourse whose increasing currency has yet to be conceptualized seriously', research and writing on Black Britishness and Black life in Britain has significantly expanded. Informed by such work, I delve into some of the details of Black media experiences in Britain to consider how Black nostalgia manifests in and through these contexts. Inspired by Ahad-Legardy's (2021) work on ‘Afro-nostalgia' and how visual culture aids archives of Black ‘historical joy', I consider the digitally mediated, comforting, conflicting, and historical nature of Black media nostalgia in Britain, and Black nostalgia more generally. Such discussion distinguishes between Black people's nostalgic media experiences and Black media nostalgia which centers Black creative expression and the kaleidoscopic gazes of Black audiences. Nostalgia's enigmatic quality cannot be comprehended via empirical analysis, alone. Thus, sculpted by understandings of ‘sociopolitical strategies of presence' (Osei 2019, p. 733), this work conceptualizes Black nostalgia in ways based on key media examples, research interviews, researcher reflections and the possibilities and playfulness presented by influx ponderings. Overall, shaped by Hall's (1993; 1997) work on representation and popular culture, this manuscript yields insights regarding dynamics between nostalgia, media, and Black life in Britain. Such work highlights the need for specificity (e.g., whose gaze(s), geographies, generations) when articulating Black people’s experiences in Britain, and the power of nostalgia in Black media and culture, which spans decades and different devices.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135645186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-04DOI: 10.1080/09502386.2023.2261961
Cara Hagan
ABSTRACTThis work examines the presence and impact of dance in Black sitcoms from kinetic, historical, and cultural perspectives. In a sitcom, the role of dance is one where actors can communicate with their bodies what they cannot verbalize. Signifying, or the use of mockery, repeated motifs, riddles, and other such devices as an embodied practice means that actors dancing in sitcoms are asserting their agency as performers and their legitimacy as human beings in a world that does not share this sentiment. The practice of signifyin(g) harkens back to minstrelsy, a realm of the performing arts from which sitcoms are a direct descendant. By looking at sitcoms from each of the designated sitcom eras as expressed by media scholar Robin R. Means Coleman, this article connects dance and comedy forms dating back to the mid-1800s and contemporary constructions of these forms in the bodies of actors like Will Smith, Alfonso Ribeiro, and Janet Hubert of The Fresh Prince of Bel-Air. As the fields of dance, screendance, and media studies ignore the importance of the moving body in Black sitcoms, the fields miss out on through lines between minstrelsy and present-day performing arts where dance is not a stand-alone genre. Dance has never been a stand-alone practice in the context of the Black body. In sum, Black dance in sitcoms offers viewers a welcome break from the trauma stories often depicted on screen, while still honouring the complexities of Black experiences and most notably, compelling us to settle into our own groove from the comfort of our living rooms.KEYWORDS: Televisionminstrelsydanceracismsexismactors Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 John B. Quick’s Minstrels, 1920.2 Minstrel ad in Darkest America.3 Original New Orleans Minstrels, 1876.4 John B. Quick’s Minstrels, 1920.5 Amos ‘n’ Andy would change formats from a nightly program to a weekly program, then to a disc jockey program.6 Jenny Craig Weight Loss, 1995.7 Dexatrim Diet Pills, 1990.8 Slimfast, 1999.9 Special K, 1990.
摘要本文从动态的、历史的和文化的角度考察了舞蹈在黑人情景喜剧中的存在和影响。在情景喜剧中，舞蹈的角色是演员可以用他们的身体来表达他们无法用语言表达的东西。象征，或者嘲弄，重复的主题，谜语，以及其他类似的手段作为一种具体的实践，意味着在情景喜剧中跳舞的演员在一个不分享这种情感的世界中主张他们作为表演者的能动性和他们作为人类的合法性。意义(g)的实践可以追溯到吟游诗人，这是一种表演艺术领域，情景喜剧是其直接后裔。根据媒体学者罗宾·r·米恩·科尔曼(Robin R. Means Coleman)的观点，本文将舞蹈和喜剧形式追溯到19世纪中期，并将这些形式在威尔·史密斯(Will Smith)、阿方索·里贝罗(Alfonso Ribeiro)和《新鲜的贝艾尔王子》(the Fresh Prince of Bel-Air)等演员身上的当代构造联系起来。由于舞蹈、电影和媒体研究领域忽视了黑人情景喜剧中运动身体的重要性，这些领域错过了吟游诗人和现代表演艺术之间的联系，舞蹈不是一个独立的流派。舞蹈从来都不是黑人身体背景下的独立实践。总而言之，情景喜剧中的黑人舞蹈为观众提供了一个受欢迎的休息时间，从屏幕上经常描绘的创伤故事中解脱出来，同时仍然尊重黑人经历的复杂性，最值得注意的是，它迫使我们离开舒适的客厅，进入自己的状态。关键词:电视部长性别歧视性别因素披露声明作者未报告潜在的利益冲突。注释1《约翰·b·奎克的吟游诗人》，1920年《最黑暗的美国》中的吟游诗人广告最初的新奥尔良吟游诗人，1876年《约翰·b·奎克的吟游诗人》，1920年《阿莫斯和安迪》将节目形式从夜间节目改为每周节目，然后改为唱片骑师节目珍妮克雷格减肥，1995.7 Dexatrim减肥药，1990.8 Slimfast, 1999.9 Special K, 1990。
{"title":"Dancing for laughs: signifyin(g) bodies and the Black American sitcom","authors":"Cara Hagan","doi":"10.1080/09502386.2023.2261961","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261961","url":null,"abstract":"ABSTRACTThis work examines the presence and impact of dance in Black sitcoms from kinetic, historical, and cultural perspectives. In a sitcom, the role of dance is one where actors can communicate with their bodies what they cannot verbalize. Signifying, or the use of mockery, repeated motifs, riddles, and other such devices as an embodied practice means that actors dancing in sitcoms are asserting their agency as performers and their legitimacy as human beings in a world that does not share this sentiment. The practice of signifyin(g) harkens back to minstrelsy, a realm of the performing arts from which sitcoms are a direct descendant. By looking at sitcoms from each of the designated sitcom eras as expressed by media scholar Robin R. Means Coleman, this article connects dance and comedy forms dating back to the mid-1800s and contemporary constructions of these forms in the bodies of actors like Will Smith, Alfonso Ribeiro, and Janet Hubert of The Fresh Prince of Bel-Air. As the fields of dance, screendance, and media studies ignore the importance of the moving body in Black sitcoms, the fields miss out on through lines between minstrelsy and present-day performing arts where dance is not a stand-alone genre. Dance has never been a stand-alone practice in the context of the Black body. In sum, Black dance in sitcoms offers viewers a welcome break from the trauma stories often depicted on screen, while still honouring the complexities of Black experiences and most notably, compelling us to settle into our own groove from the comfort of our living rooms.KEYWORDS: Televisionminstrelsydanceracismsexismactors Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 John B. Quick’s Minstrels, 1920.2 Minstrel ad in Darkest America.3 Original New Orleans Minstrels, 1876.4 John B. Quick’s Minstrels, 1920.5 Amos ‘n’ Andy would change formats from a nightly program to a weekly program, then to a disc jockey program.6 Jenny Craig Weight Loss, 1995.7 Dexatrim Diet Pills, 1990.8 Slimfast, 1999.9 Special K, 1990.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135644069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-28DOI: 10.1080/09502386.2023.2261954
Jiro Hane
ABSTRACTThis article discusses the tyranny of science and the masses’ reaction to it, considering the situation in which the overturned mask norm, which is different from the medically desirable mask norm, has been practiced in Japanese society. The model of the human being that science assumes is frequently inclined to be limited to a very narrow model of the modern citizen or a rational, ideal human being with sufficient information to make decisions. Such a metaphysical understanding of human beings and society does not assume that the masses will not accept it. As a result, science has no choice but to use mathematically derived fear to control the masses. Science will always have a tyrannical and magical character in the sense that fear is necessary for the realization of the scientific expectations of experts. To incite fear, technology should be not only scientific but also symbolic (ritualistic) in the society in which it is used. However, once the fear becomes a reality, the masses, instead of being increasingly frightened by it, begin to doubt the scientific explanations of the experts. As a result, the tyranny of science starts to collapse. It is in the masses, who are perceived as the furthest removed from science, that the opportunity exists for science to be relativized.KEYWORDS: COVID-19technocracymaskriskfearmasses Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsJiro HaneJiro Hane, born in Yokohama, Japan, is an associate professor in the school of Political Science and Economics, Meiji University, Tokyo. In 2010, he graduated from the Graduate School of Hitotsubashi University, Tokyo, with a Ph.D. His research focuses specifically on modern Chinese history and contemporary Chinese studies. Some of major works include “Butteki Chugoku-ron (China from a Material Perspective)” (Tokyo: Seidosha, 2020).
{"title":"The tyranny of magicalized science and its collapse by the masses: fear and modernity in the Japanese mask norm","authors":"Jiro Hane","doi":"10.1080/09502386.2023.2261954","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261954","url":null,"abstract":"ABSTRACTThis article discusses the tyranny of science and the masses’ reaction to it, considering the situation in which the overturned mask norm, which is different from the medically desirable mask norm, has been practiced in Japanese society. The model of the human being that science assumes is frequently inclined to be limited to a very narrow model of the modern citizen or a rational, ideal human being with sufficient information to make decisions. Such a metaphysical understanding of human beings and society does not assume that the masses will not accept it. As a result, science has no choice but to use mathematically derived fear to control the masses. Science will always have a tyrannical and magical character in the sense that fear is necessary for the realization of the scientific expectations of experts. To incite fear, technology should be not only scientific but also symbolic (ritualistic) in the society in which it is used. However, once the fear becomes a reality, the masses, instead of being increasingly frightened by it, begin to doubt the scientific explanations of the experts. As a result, the tyranny of science starts to collapse. It is in the masses, who are perceived as the furthest removed from science, that the opportunity exists for science to be relativized.KEYWORDS: COVID-19technocracymaskriskfearmasses Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsJiro HaneJiro Hane, born in Yokohama, Japan, is an associate professor in the school of Political Science and Economics, Meiji University, Tokyo. In 2010, he graduated from the Graduate School of Hitotsubashi University, Tokyo, with a Ph.D. His research focuses specifically on modern Chinese history and contemporary Chinese studies. Some of major works include “Butteki Chugoku-ron (China from a Material Perspective)” (Tokyo: Seidosha, 2020).","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135425785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-27DOI: 10.1080/09502386.2023.2261953
Helena Wu
We are all spectators of the times to varying extents. With the commencement of the twenty-first century, our spectator experience began to transform, becoming more scattered, divergent, and unsettled in response to technological advancement and the decline of consensus around social values, cultural meanings, and political agendas in the face of changes. In post-handover Hong Kong, a breach of meaning has been cumulatively caused by divided opinions on priorities (e.g. economic, democratic) and intensified by the contested narratives around history, identity, and reality. In the aftermath of the Anti-Extradition Law Amendment Bill (Anti-ELAB) Movement, a discursive construction of authority and legitimation has taken place in legislative affairs, a renewed school curriculum, and official speeches, among other organized patterns of action. Against this backdrop, this paper will focus on the spectatorship of trauma that has been generated by community screenings and documentary filmmaking. Two case studies will be presented in terms of their distance (distant vis-à-vis immersive) from the epicentre of these traumatic events. The first case study will explore the spectatorship of visual trauma, in which authoritarian experiences were transmitted through social movement-themed documentaries (e.g. Ukraine’s Winter on Fire) and drama films (e.g. South Korea’s 1987 and A Taxi Driver) that gained popularity and stirred up noise in Hong Kong in the lead-up to 2019. The second case study will explore traumatic responses through bodily reactions to pain and suffering as captured in post-2019 Hong Kong cinema. On the whole, the paper will demonstrate how viewing experiences embody shared and individualized responses (e.g. resistance, resilience, retreat) and how understanding spectatorship allows us to discern the social sentiments, cultural implications, and affects generated at a particular time.
{"title":"Distance and proximity: the spectatorship of trauma and film viewing in postmillennial Hong Kong","authors":"Helena Wu","doi":"10.1080/09502386.2023.2261953","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261953","url":null,"abstract":"We are all spectators of the times to varying extents. With the commencement of the twenty-first century, our spectator experience began to transform, becoming more scattered, divergent, and unsettled in response to technological advancement and the decline of consensus around social values, cultural meanings, and political agendas in the face of changes. In post-handover Hong Kong, a breach of meaning has been cumulatively caused by divided opinions on priorities (e.g. economic, democratic) and intensified by the contested narratives around history, identity, and reality. In the aftermath of the Anti-Extradition Law Amendment Bill (Anti-ELAB) Movement, a discursive construction of authority and legitimation has taken place in legislative affairs, a renewed school curriculum, and official speeches, among other organized patterns of action. Against this backdrop, this paper will focus on the spectatorship of trauma that has been generated by community screenings and documentary filmmaking. Two case studies will be presented in terms of their distance (distant vis-à-vis immersive) from the epicentre of these traumatic events. The first case study will explore the spectatorship of visual trauma, in which authoritarian experiences were transmitted through social movement-themed documentaries (e.g. Ukraine’s Winter on Fire) and drama films (e.g. South Korea’s 1987 and A Taxi Driver) that gained popularity and stirred up noise in Hong Kong in the lead-up to 2019. The second case study will explore traumatic responses through bodily reactions to pain and suffering as captured in post-2019 Hong Kong cinema. On the whole, the paper will demonstrate how viewing experiences embody shared and individualized responses (e.g. resistance, resilience, retreat) and how understanding spectatorship allows us to discern the social sentiments, cultural implications, and affects generated at a particular time.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135581825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-27DOI: 10.1080/09502386.2023.2261969
Junxiao Yang
ABSTRACTIn Japan, young people are becoming increasingly apathetic about politics, while at the same time they are experiencing a rightward leaning and a growing sympathy for totalitarianism and authoritarianism. To understand this contradiction, we need to look at the digital communication environment in which they engage in political discourse. One of the most representative opinion leaders in this regard is Hiroyuki Nishimura. In recent years, Hiroyuki has become widely known as the ‘King of Refutation’ and is immensely popular among the young generation. He is very active in political and social issues, arguing in a logical and neutral manner. However, despite his enlightened mode of argumentation, his arguments have been perceived as accommodative to totalitarian and authoritarian perceptions. This paper argues that at the heart of this mode of refutation is a process of ‘decontextualisation’ and ‘recontextualisation’ which has resulted in reducing the complexity of the issue, making it comprehensible to the majority while oppressing minorities. And this mode of refutation and the processes of ‘decontextualisation’ and ‘recontextualisation’ are at the centre of the various digital communication platforms that he operates and that have become hubs of political communication around the world: 2channel, 4chan, Nico Nico Douga and YouTube clips. In this sense, the totalitarianism and rightward leaning of the young generation is not due to a specific ideology but is strongly conditioned by the communication environment. ‘Communication totalitarianism’ can be used to describe the totalitarianism and right-wing tendencies taking place in Japan.KEYWORDS: DepoliticizationcommunicationCMCtotalitarianismrightward leaning2channel Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 5channel, https://5ch.net (last access: January 25, 2023)2 For example, follow video have made a re-criticism to Western medias’ criticism of Covid-19 Policy of the Chinese Government. Guancha.cn(观察者网),【Understanding Something(懂点儿啥)48】Fang Fang’s Wuhan diary published, the familiar recipe has that taste (方方武汉日记出版，熟悉的配方有内味了). April 10 2020, https://www.bilibili.com/video/BV1AT4y1G7rQ?share_source=copy_web (last access: January 25, 2023)Additional informationNotes on contributorsJunxiao YangJunxiao Yang is currently an Assistant Professor in the faculty of Letters, Arts and Science at Waseda University in Japan. He obtained his PhD in Literature from Waseda University. He writes critiques about literature, subculture, and media for general media, in addition to his academic research.
{"title":"Communication totalitarianism in Japan: ‘Decontextualisation’ and ‘Recontextualisation’ and the digital communication environment","authors":"Junxiao Yang","doi":"10.1080/09502386.2023.2261969","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261969","url":null,"abstract":"ABSTRACTIn Japan, young people are becoming increasingly apathetic about politics, while at the same time they are experiencing a rightward leaning and a growing sympathy for totalitarianism and authoritarianism. To understand this contradiction, we need to look at the digital communication environment in which they engage in political discourse. One of the most representative opinion leaders in this regard is Hiroyuki Nishimura. In recent years, Hiroyuki has become widely known as the ‘King of Refutation’ and is immensely popular among the young generation. He is very active in political and social issues, arguing in a logical and neutral manner. However, despite his enlightened mode of argumentation, his arguments have been perceived as accommodative to totalitarian and authoritarian perceptions. This paper argues that at the heart of this mode of refutation is a process of ‘decontextualisation’ and ‘recontextualisation’ which has resulted in reducing the complexity of the issue, making it comprehensible to the majority while oppressing minorities. And this mode of refutation and the processes of ‘decontextualisation’ and ‘recontextualisation’ are at the centre of the various digital communication platforms that he operates and that have become hubs of political communication around the world: 2channel, 4chan, Nico Nico Douga and YouTube clips. In this sense, the totalitarianism and rightward leaning of the young generation is not due to a specific ideology but is strongly conditioned by the communication environment. ‘Communication totalitarianism’ can be used to describe the totalitarianism and right-wing tendencies taking place in Japan.KEYWORDS: DepoliticizationcommunicationCMCtotalitarianismrightward leaning2channel Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 5channel, https://5ch.net (last access: January 25, 2023)2 For example, follow video have made a re-criticism to Western medias’ criticism of Covid-19 Policy of the Chinese Government. Guancha.cn(观察者网),【Understanding Something(懂点儿啥)48】Fang Fang’s Wuhan diary published, the familiar recipe has that taste (方方武汉日记出版，熟悉的配方有内味了). April 10 2020, https://www.bilibili.com/video/BV1AT4y1G7rQ?share_source=copy_web (last access: January 25, 2023)Additional informationNotes on contributorsJunxiao YangJunxiao Yang is currently an Assistant Professor in the faculty of Letters, Arts and Science at Waseda University in Japan. He obtained his PhD in Literature from Waseda University. He writes critiques about literature, subculture, and media for general media, in addition to his academic research.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135536611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-27DOI: 10.1080/09502386.2023.2261967
Jayoung Park
ABSTRACTIn South Korea, which has seen a drastic power transfer from a progressive to an authoritarian government, a new form of the ‘weak-victim’ narrative has emerged in recent years, and changes and ruptures in the discourse on the weak have occurred. Young men in South Korea claim that they have been excluded from institutions, policies and systems and denied equal opportunities compared to women. It is brought to the fore the discourse of fairness.This article notes that a sense of faith in meritocracy is one of the contributors that generated the discourse of fairness. It examines how seemingly progressive policies conflicted with and were left stranded by the logic of fairness and meritocracy and takes a close look at why this happened. In addition, it reconstructs the social conditions that brought up the issue of fairness, investigating how the discourse of fairness emerged and how the significance of ‘fairness’ was shifted and re-conceptualized. Meanwhile, as the idea of meritocracy has become prevalent in society, a critical analysis of it was also conducted from multilateral angles. This article analyzes various aspects of the criticisms of meritocracy, discussing how we should view these criticisms and we can find possibilities to overcome the problematics of meritocracy.KEYWORDS: Meritocracyfairnessjusticethe weak-victim narrativeauthoritarianismSouth Korea Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 For example, see Al-Ghazzi’s article, ‘We will be great again: Historical victimhood in populist discourse’ (Citation2021). Meanwhile, Nancy Fraser pays attention to the harms experienced by the working class, who are leaning toward right-wing populism, and reassigns it as a component of progressive populism. Fraser Citation2019. The old is dying and the new cannot be born. Brooklyn, NY: Verso, 35.2 The Tang Ping (or lying flat) movement went viral when a user named Kind-Hearted Traveller shared a post that said, ‘Lying flat is justice’ on Chinese search engine Baidu’s discussion forum on the Chinese population in April 2021. Tang Ping is an attitude toward life that chooses to lie down with no zeal instead of struggling to meet social expectations. The term was banned in China soon after spreading online. Strictly speaking, lying flat-ism is not a term limited to men, but most memes portray young men lying down, so it can be said that young men represent the vanguard of this movement. 好心的旅行家, 2022. 躺平卽是正義[online]. 白度中國人口吧. available from: https://gnews.org/articles/380156 [Accessed 17 November 2022]3 Korean newsweekly SisaIn and public opinion research firm Hankook Research conducted an in-depth survey of 1,000 Korean adult men and women aged 19 or older on the topic of the ‘men in 20s phenomenon’ from March 20 to 22, 2019. The large-scale web-based survey with a total of 208 questions found that the attitudes of Korean men in their 20s were peculiar, distinguished from those of any other
在韩国，经历了从进步政府到威权政府的剧烈权力转移，近年来出现了一种新形式的“弱者-受害者”叙事，关于弱者的话语发生了变化和断裂。韩国的年轻男性声称，他们被排除在机构、政策和制度之外，被剥夺了与女性平等的机会。关于公平的论述被提上了前台。本文指出，对精英统治的信念是产生公平话语的贡献者之一。它考察了看似进步的政策是如何与公平和精英政治的逻辑相冲突并被其困住的，并仔细研究了这种情况发生的原因。此外，它重构了产生公平问题的社会条件，探讨了公平话语是如何产生的，以及“公平”的意义是如何被转移和重新概念化的。同时，随着精英主义思想在社会上的盛行，也从多方角度对其进行了批判性分析。本文分析了对精英政治的批评的各个方面，讨论了我们应该如何看待这些批评，我们可以找到克服精英政治问题的可能性。关键词:任人唯贤、公平正义、弱势受害者叙事、威权主义韩国披露声明作者未发现潜在的利益冲突。注1例如，参见Al-Ghazzi的文章“我们将再次伟大:民粹主义话语中的历史受害者”(Citation2021)。与此同时，南希·弗雷泽关注了倾向于右翼民粹主义的工人阶级所遭受的伤害，并将其重新定位为进步民粹主义的组成部分。弗雷泽Citation2019。旧的在死去，新的不能诞生。2021年4月，一位名为“善良的旅行者”的用户在中国搜索引擎b百度的中国人口论坛上分享了一篇文章，称“平躺是正义”，“平躺运动”迅速传播开来。唐平是一种生活态度，选择毫无热情地躺下，而不是努力满足社会的期望。这个词在网上传播后不久就在中国被禁了。严格来说，躺平主义并不局限于男性，但大多数表情包都描绘了躺下的年轻人，所以可以说，年轻人代表了这一运动的先锋。好心的旅行家, 2022. <s:1> <s:1>在线]。白度中國人口吧. 3韩国新闻周刊《SisaIn》和舆论调查公司Hankook research于2019年3月20日至22日，以“20多岁男性现象”为主题，对1000名19岁以上的韩国成年男女进行了深度调查。这是一项包含208个问题的大规模网络调查，结果显示，韩国20多岁男性的态度与其他年龄层和性别群体不同。调查结果通过新闻媒体报道，引起了巨大的社会反响。后,研究结果与原始数据出版一本书:郑宋Citation2019,男性在20年代:少数男性的自我意识的诞生(“20대남자:남성마이너리티“자의식의탄생)。△SisaIN Book4:对于第一个问题“对男性的性别歧视更严重”，20多岁女性(38.6%)、30多岁以上男性(35.7%)、30多岁以上女性(22.8%)回答“更严重”。对于第二种说法“执法对男性不利”，11%的20多岁女性、26.7%的30多岁及以上男性和5.7%的30多岁及以上女性同意这一说法。关于男女在工作中专业技能的差异，20多岁的男性中，5.1%的人认为女性总体上是称职的;43.8%的人认为男性总体上是有能力的;44.8%的人认为男女之间没有显著差异。关于工作中的社交技能，在同一人口中，6.8%的人认为女性总体上是有能力的;41.9%的人认为男性之间没有显著差异;48%的人认为男性是有能力的。上述民意调查的其他问题突出了韩国年轻男性的独特观点。例如，在20多岁的男性中，75.9%的人认为韩国政府在性别平等政策方面做得很差，而53.6%的人认为韩国的执法对男性不利。千宽烈，郑汉毛，同上，38岁，32.7岁30岁以上男性中，对女权主义相关言论持强烈否定态度的男性占7.7%，比20岁男性的25.9%低18.2%。20多岁的女性中有12%、30多岁及以上的男性中有45.6%认同“男性在工作中更擅长专业技能”这一说法。88%的女性在20多岁和74岁之间。 Social theory of meritocracy: An attempt at explanation251,231 -232.26 Ibid, 251.27 We can refer to some suggestions for replacing the discourse of fairness with the theory of justice。shin citation2021。Rewriting fairness within the context of a larger justice(用更大的定义改写工程)。creation and criticism, 193。Kim Jeong Citation2022, A World after fairness(工程后的世界)，Changbi Publisher。
{"title":"Male youth’s self-narrative and the discourse of meritocracy in South Korea","authors":"Jayoung Park","doi":"10.1080/09502386.2023.2261967","DOIUrl":"https://doi.org/10.1080/09502386.2023.2261967","url":null,"abstract":"ABSTRACTIn South Korea, which has seen a drastic power transfer from a progressive to an authoritarian government, a new form of the ‘weak-victim’ narrative has emerged in recent years, and changes and ruptures in the discourse on the weak have occurred. Young men in South Korea claim that they have been excluded from institutions, policies and systems and denied equal opportunities compared to women. It is brought to the fore the discourse of fairness.This article notes that a sense of faith in meritocracy is one of the contributors that generated the discourse of fairness. It examines how seemingly progressive policies conflicted with and were left stranded by the logic of fairness and meritocracy and takes a close look at why this happened. In addition, it reconstructs the social conditions that brought up the issue of fairness, investigating how the discourse of fairness emerged and how the significance of ‘fairness’ was shifted and re-conceptualized. Meanwhile, as the idea of meritocracy has become prevalent in society, a critical analysis of it was also conducted from multilateral angles. This article analyzes various aspects of the criticisms of meritocracy, discussing how we should view these criticisms and we can find possibilities to overcome the problematics of meritocracy.KEYWORDS: Meritocracyfairnessjusticethe weak-victim narrativeauthoritarianismSouth Korea Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 For example, see Al-Ghazzi’s article, ‘We will be great again: Historical victimhood in populist discourse’ (Citation2021). Meanwhile, Nancy Fraser pays attention to the harms experienced by the working class, who are leaning toward right-wing populism, and reassigns it as a component of progressive populism. Fraser Citation2019. The old is dying and the new cannot be born. Brooklyn, NY: Verso, 35.2 The Tang Ping (or lying flat) movement went viral when a user named Kind-Hearted Traveller shared a post that said, ‘Lying flat is justice’ on Chinese search engine Baidu’s discussion forum on the Chinese population in April 2021. Tang Ping is an attitude toward life that chooses to lie down with no zeal instead of struggling to meet social expectations. The term was banned in China soon after spreading online. Strictly speaking, lying flat-ism is not a term limited to men, but most memes portray young men lying down, so it can be said that young men represent the vanguard of this movement. 好心的旅行家, 2022. 躺平卽是正義[online]. 白度中國人口吧. available from: https://gnews.org/articles/380156 [Accessed 17 November 2022]3 Korean newsweekly SisaIn and public opinion research firm Hankook Research conducted an in-depth survey of 1,000 Korean adult men and women aged 19 or older on the topic of the ‘men in 20s phenomenon’ from March 20 to 22, 2019. The large-scale web-based survey with a total of 208 questions found that the attitudes of Korean men in their 20s were peculiar, distinguished from those of any other ","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135536897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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：