Pub Date : 2024-02-19DOI: 10.1177/13675494241228813
C. Bandinelli
This article contributes to feminist cultural studies on the creative industries by offering an ethnographic account of the lifeworld of a female and creative entrepreneur. Drawing on interview data and ethnographic observations collected over the course of 10 years, I offer a thick description of the personal and professional trajectories of Alexandra, through the rise and fall of her fashion brand and first marriage and on to her second marriage and new job as an employee for a marketing firm. I focus on the ways in which she becomes her own microstructure, building connection between love and career in a de-regulated and de-territorialised environment. I argue that she engages in what I call ‘romantic opportunism’, a biographical device that enables her to spot instrumental connections between different dimensions of life, whilst unifying them into a romantic plot. The story of Alexandra can therefore be seen as an instantiation of ‘freelance feminism’, whereby life emerges as the combination of parallel and interdependent projects.
{"title":"Romantic opportunism: Doing the work of structures in post-feminist creative industries","authors":"C. Bandinelli","doi":"10.1177/13675494241228813","DOIUrl":"https://doi.org/10.1177/13675494241228813","url":null,"abstract":"This article contributes to feminist cultural studies on the creative industries by offering an ethnographic account of the lifeworld of a female and creative entrepreneur. Drawing on interview data and ethnographic observations collected over the course of 10 years, I offer a thick description of the personal and professional trajectories of Alexandra, through the rise and fall of her fashion brand and first marriage and on to her second marriage and new job as an employee for a marketing firm. I focus on the ways in which she becomes her own microstructure, building connection between love and career in a de-regulated and de-territorialised environment. I argue that she engages in what I call ‘romantic opportunism’, a biographical device that enables her to spot instrumental connections between different dimensions of life, whilst unifying them into a romantic plot. The story of Alexandra can therefore be seen as an instantiation of ‘freelance feminism’, whereby life emerges as the combination of parallel and interdependent projects.","PeriodicalId":502446,"journal":{"name":"European Journal of Cultural Studies","volume":"58 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140449839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-13DOI: 10.1177/13675494241229188
Roshi Naidoo
UK museums are embracing decolonisation as a discourse and an institutional cultural policy. There has been a shift in the sector whereby discussions of colonial violence and white supremacy have become more common. Do we feel optimism at this turn or should we also be wary? Just as the museum has historically helped determine the canon of knowledge, it can also determine the ways in which we unpack and critique that canon. It can seek to manage its troubling ‘others’ in ways which may both give voice to them, but also contain and limit those voices. It can be the means through which it manages a fear of its own engulfment and loss of power and authority. How will institutions deal with the fact that we are not coming for ‘inclusion’ but for power? Viewed through the prism of my own work with museums and informed by Space Invaders and Puwar’s observation that black women are ‘offered the floor to speak of marginality’ (p. 73), this piece will give a personal analysis of my shifting spatial and somatic discomfort as structural and political.
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Pub Date : 2024-02-13DOI: 10.1177/13675494241228937
Alexander De Man, Gertjan Willems, Daniel Biltereyst
This article examines how Flemish film policy actors and industry stakeholders have conceptualized, framed and operationalized cultural diversity and inclusion over the past two decades (2002–2022). Drawing on critical discourse and interpretive policy analysis of policy documents and a series of in-depth expert interviews, we investigate how discourses of diversity in cultural policymaking are consistently shaped by (neo-)liberal continuations of deregulation, state neutrality and marketization. This article identifies three discursive shifts over the years, highlighting their complex tensions with the persistent, liberal-egalitarian principle of difference-blind universalism. Framing these tensions as a major obstacle in achieving a paradigmatic policy shift toward the inclusion of ethnic/diasporic minorities in Flemish cinema, we advance a more comprehensive way of understanding why media diversity policies have, so far, proven inadequate.
{"title":"Discourses of cultural diversity and inclusion in film policy: The case of Flanders (2002–2022)","authors":"Alexander De Man, Gertjan Willems, Daniel Biltereyst","doi":"10.1177/13675494241228937","DOIUrl":"https://doi.org/10.1177/13675494241228937","url":null,"abstract":"This article examines how Flemish film policy actors and industry stakeholders have conceptualized, framed and operationalized cultural diversity and inclusion over the past two decades (2002–2022). Drawing on critical discourse and interpretive policy analysis of policy documents and a series of in-depth expert interviews, we investigate how discourses of diversity in cultural policymaking are consistently shaped by (neo-)liberal continuations of deregulation, state neutrality and marketization. This article identifies three discursive shifts over the years, highlighting their complex tensions with the persistent, liberal-egalitarian principle of difference-blind universalism. Framing these tensions as a major obstacle in achieving a paradigmatic policy shift toward the inclusion of ethnic/diasporic minorities in Flemish cinema, we advance a more comprehensive way of understanding why media diversity policies have, so far, proven inadequate.","PeriodicalId":502446,"journal":{"name":"European Journal of Cultural Studies","volume":"30 33","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139782158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-13DOI: 10.1177/13675494241229188
Roshi Naidoo
UK museums are embracing decolonisation as a discourse and an institutional cultural policy. There has been a shift in the sector whereby discussions of colonial violence and white supremacy have become more common. Do we feel optimism at this turn or should we also be wary? Just as the museum has historically helped determine the canon of knowledge, it can also determine the ways in which we unpack and critique that canon. It can seek to manage its troubling ‘others’ in ways which may both give voice to them, but also contain and limit those voices. It can be the means through which it manages a fear of its own engulfment and loss of power and authority. How will institutions deal with the fact that we are not coming for ‘inclusion’ but for power? Viewed through the prism of my own work with museums and informed by Space Invaders and Puwar’s observation that black women are ‘offered the floor to speak of marginality’ (p. 73), this piece will give a personal analysis of my shifting spatial and somatic discomfort as structural and political.
{"title":"Space oddity – Reading Nirmal Puwar’s Space Invaders: race, gender and bodies out of place in decolonial times","authors":"Roshi Naidoo","doi":"10.1177/13675494241229188","DOIUrl":"https://doi.org/10.1177/13675494241229188","url":null,"abstract":"UK museums are embracing decolonisation as a discourse and an institutional cultural policy. There has been a shift in the sector whereby discussions of colonial violence and white supremacy have become more common. Do we feel optimism at this turn or should we also be wary? Just as the museum has historically helped determine the canon of knowledge, it can also determine the ways in which we unpack and critique that canon. It can seek to manage its troubling ‘others’ in ways which may both give voice to them, but also contain and limit those voices. It can be the means through which it manages a fear of its own engulfment and loss of power and authority. How will institutions deal with the fact that we are not coming for ‘inclusion’ but for power? Viewed through the prism of my own work with museums and informed by Space Invaders and Puwar’s observation that black women are ‘offered the floor to speak of marginality’ (p. 73), this piece will give a personal analysis of my shifting spatial and somatic discomfort as structural and political.","PeriodicalId":502446,"journal":{"name":"European Journal of Cultural Studies","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139839563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-13DOI: 10.1177/13675494241228937
Alexander De Man, Gertjan Willems, Daniel Biltereyst
This article examines how Flemish film policy actors and industry stakeholders have conceptualized, framed and operationalized cultural diversity and inclusion over the past two decades (2002–2022). Drawing on critical discourse and interpretive policy analysis of policy documents and a series of in-depth expert interviews, we investigate how discourses of diversity in cultural policymaking are consistently shaped by (neo-)liberal continuations of deregulation, state neutrality and marketization. This article identifies three discursive shifts over the years, highlighting their complex tensions with the persistent, liberal-egalitarian principle of difference-blind universalism. Framing these tensions as a major obstacle in achieving a paradigmatic policy shift toward the inclusion of ethnic/diasporic minorities in Flemish cinema, we advance a more comprehensive way of understanding why media diversity policies have, so far, proven inadequate.
{"title":"Discourses of cultural diversity and inclusion in film policy: The case of Flanders (2002–2022)","authors":"Alexander De Man, Gertjan Willems, Daniel Biltereyst","doi":"10.1177/13675494241228937","DOIUrl":"https://doi.org/10.1177/13675494241228937","url":null,"abstract":"This article examines how Flemish film policy actors and industry stakeholders have conceptualized, framed and operationalized cultural diversity and inclusion over the past two decades (2002–2022). Drawing on critical discourse and interpretive policy analysis of policy documents and a series of in-depth expert interviews, we investigate how discourses of diversity in cultural policymaking are consistently shaped by (neo-)liberal continuations of deregulation, state neutrality and marketization. This article identifies three discursive shifts over the years, highlighting their complex tensions with the persistent, liberal-egalitarian principle of difference-blind universalism. Framing these tensions as a major obstacle in achieving a paradigmatic policy shift toward the inclusion of ethnic/diasporic minorities in Flemish cinema, we advance a more comprehensive way of understanding why media diversity policies have, so far, proven inadequate.","PeriodicalId":502446,"journal":{"name":"European Journal of Cultural Studies","volume":"141 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139841773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-09DOI: 10.1177/13675494241226661
Gerard Nelson, Anne O’ Brien
The television industry has deep-rooted neoliberal employment structures, and this article explores how the non-fiction television director negotiates this contingent working environment. Research has established that creative workers adapt themselves to the demands of a post-Fordist ‘gig economy’, characterised by casual, non-permanent work, with little security or accountability. However, relatively little is known about how non-fiction television directors respond to that context, especially in the Irish case. In-depth interviews were conducted with a purposeful sample of 12 freelance television directors. Key findings note the layers of control wielded by broadcasters over the working life of the director. Identifying the negative effect of broadcasters’ dominance in the sector, they revealed a three-line whip of control through budget, creative direction, and a risk-averse approach to programming, which effectively constrained the directors and reduced their autonomy. The directors described how broadcasters’ control over budgets means that the sector is run at their command, a situation that is further aggravated by Ireland’s lack of trade union representation, stagnant pay rates and the absence of intellectual property rights accruing to directors’ work. Respondents proposed that their status was reduced from creative auteur to operational functionaries, reporting the negative impact of the industry work culture and practices on their self-esteem, because their creativity and work were undervalued. This article breaks new ground to explore directors’ responses to the conditions of the gig economy and link the alienation of labour to the loss of creativity in content. There was an acceptance by non-fiction directors of the status quo, which was seen as the ‘price’ of a non-routine life, with the freedom to indulge the passion and the pleasure inherent to making television. Moreover, respondents also revealed how they maintained their creative identity despite their circumstances, through the pursuit of their own work and through the support of peers. Crucially, respondents argued for a repositioning of the television director to reflect their status and role in the origination and creation of novel content, and proposed such recognition might better serve the television viewer.
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Pub Date : 2024-02-09DOI: 10.1177/13675494241226661
Gerard Nelson, Anne O’ Brien
The television industry has deep-rooted neoliberal employment structures, and this article explores how the non-fiction television director negotiates this contingent working environment. Research has established that creative workers adapt themselves to the demands of a post-Fordist ‘gig economy’, characterised by casual, non-permanent work, with little security or accountability. However, relatively little is known about how non-fiction television directors respond to that context, especially in the Irish case. In-depth interviews were conducted with a purposeful sample of 12 freelance television directors. Key findings note the layers of control wielded by broadcasters over the working life of the director. Identifying the negative effect of broadcasters’ dominance in the sector, they revealed a three-line whip of control through budget, creative direction, and a risk-averse approach to programming, which effectively constrained the directors and reduced their autonomy. The directors described how broadcasters’ control over budgets means that the sector is run at their command, a situation that is further aggravated by Ireland’s lack of trade union representation, stagnant pay rates and the absence of intellectual property rights accruing to directors’ work. Respondents proposed that their status was reduced from creative auteur to operational functionaries, reporting the negative impact of the industry work culture and practices on their self-esteem, because their creativity and work were undervalued. This article breaks new ground to explore directors’ responses to the conditions of the gig economy and link the alienation of labour to the loss of creativity in content. There was an acceptance by non-fiction directors of the status quo, which was seen as the ‘price’ of a non-routine life, with the freedom to indulge the passion and the pleasure inherent to making television. Moreover, respondents also revealed how they maintained their creative identity despite their circumstances, through the pursuit of their own work and through the support of peers. Crucially, respondents argued for a repositioning of the television director to reflect their status and role in the origination and creation of novel content, and proposed such recognition might better serve the television viewer.
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Pub Date : 2024-02-09DOI: 10.1177/13675494241228015
Minna Nikunen, Marjo Kolehmainen
This article examines start-up entrepreneurialism and provides insights into the configurations of affective capitalism. The empirical case explored in this article is the Slush Conference, which promotes start-up entrepreneurialism. The data were gathered by ethnographic methods, including on-site observations, and complemented by diverse materials such as social media content and newspaper coverage of the event. Drawing upon our detailed analysis, we concluded that Slush comprises overlapping elements that constitute a novel kind of entrepreneurial enterprise: an emphasis on affective atmospheres, the articulation of an alleged affective morality and a view of affects as directly productive. These three aspects together further shed light on the nuanced operations of mood, which we consider an important manifestation of collective affects. In particular, mood plays a significant role in the shifting terrains of Nordic welfare states, where tensions between public expertise and private innovations can be identified. Furthermore, we argue that Slush is a field-configuring event that has a crucial impact on the evolution of start-up entrepreneurialism by constituting the Finnish landscape of affective capitalism.
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Pub Date : 2024-02-09DOI: 10.1177/13675494241228015
Minna Nikunen, Marjo Kolehmainen
This article examines start-up entrepreneurialism and provides insights into the configurations of affective capitalism. The empirical case explored in this article is the Slush Conference, which promotes start-up entrepreneurialism. The data were gathered by ethnographic methods, including on-site observations, and complemented by diverse materials such as social media content and newspaper coverage of the event. Drawing upon our detailed analysis, we concluded that Slush comprises overlapping elements that constitute a novel kind of entrepreneurial enterprise: an emphasis on affective atmospheres, the articulation of an alleged affective morality and a view of affects as directly productive. These three aspects together further shed light on the nuanced operations of mood, which we consider an important manifestation of collective affects. In particular, mood plays a significant role in the shifting terrains of Nordic welfare states, where tensions between public expertise and private innovations can be identified. Furthermore, we argue that Slush is a field-configuring event that has a crucial impact on the evolution of start-up entrepreneurialism by constituting the Finnish landscape of affective capitalism.
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Pub Date : 2024-02-06DOI: 10.1177/13675494231221659
Clive Nwonka
In recent years, the UK screen industries have exhibited a renewed interest in racial difference that can be understood as the outcome of policy interventions into the unequal labour practices within film production and film culture. This has emerged with new modes of Black cultural visibility that have accompanied the increased presence of mainstream, publicly funded feature films. Here, the increasing body of Black filmic practitioners who have now occupied the creative status of writer-director is an outcome of not just the expanded and strategic racial equality agenda within the UK film industry, nor the intrinsic need to extend the representation of Black identities and related themes and characterisations within the screen industrial landscape. In identifying a conjunctural shift in Black cultural politics and the production of Blackness as a cultural value through film as a linear social and political phenomenon that has produced a heightened moment of cultural visibility, this article identifies how the presence of industrial actors as creative practice within Black film production and presentation has inaugurated a glacial but no less significant period of industrial reconfiguration and subsequently, new forms of cultural meaning being ascribed to the cultural image of the Black writer-director. As Black Britishness comes into a greater industrial visibility in the film sector, its entanglements with neoliberalist logics of the marketed individual frame the Black cultural intermediary as the inevitable outcome of Black cultural identity’s continued trajectory into the popular.
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