What is at stake if the recent past and social atrocities are hidden by taboos? How can one break up established patterns of media making? How can ancient sociocultural infrastructures in combination with digital documentary promote campaigns to raise one’s voice and achieve social and political change? Taking The Quipu Project (2015) as a test-stone, we discuss the potential of documentary transmedia configurations to allow a hitherto silenced group of people in Peru to collaboratively tell their stories on-line and to promote action taking for justice on the ground. Bringing together Cizek’s notion of interventionist media making, Daniel’s concept of context-provision, Aston’s considerations on ‘emplaced interaction’ and the idea of co-creation, this contribution offers some propositions for a better understanding of emerging digital mutations in doing documentary and their potential for transformation, revisiting paradigms of collective wisdom and impact as well as a modified version of Gaventa’s power cube model.
{"title":"Digital transformation of doing documentary: Committed documentary and the knitting of networks of co-creation","authors":"Anna Wiehl","doi":"10.1386/cjcs_00026_1","DOIUrl":"https://doi.org/10.1386/cjcs_00026_1","url":null,"abstract":"What is at stake if the recent past and social atrocities are hidden by taboos? How can one break up established patterns of media making? How can ancient sociocultural infrastructures in combination with digital documentary promote campaigns to raise one’s voice and achieve social and political change? Taking The Quipu Project (2015) as a test-stone, we discuss the potential of documentary transmedia configurations to allow a hitherto silenced group of people in Peru to collaboratively tell their stories on-line and to promote action taking for justice on the ground. Bringing together Cizek’s notion of interventionist media making, Daniel’s concept of context-provision, Aston’s considerations on ‘emplaced interaction’ and the idea of co-creation, this contribution offers some propositions for a better understanding of emerging digital mutations in doing documentary and their potential for transformation, revisiting paradigms of collective wisdom and impact as well as a modified version of Gaventa’s power cube model.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"181-196"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45346625","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}
Hybridization permeates all fields of communication: documentaries are no exception. One example is The Left-to-Die Boat by Forensic Architecture (FA), an audio-visual account of how 63 refugees lost their lives in 2011 when their ship was adrift in the waters of Libya. The Left-to-Die Boat combines documentary techniques with data analysis and visualizations to expose a tragedy, change migration policies and sustain court cases. Based on critical data and documentary studies, this article inspects the methodological hybridization proposed by FA in six documentaries. The questions are: how does FA hybridize? What are the outcomes of this hybridization? What is hybridization today? The analysis links these documentaries’ characteristics with functions and outcomes, offering a taxonomy that can be employed beyond this study. The findings indicate that activism is taking multidimensional forms, blurring the boundaries separating documentaries, data science and art in search of impact.
杂糅渗透到传播的各个领域：纪录片也不例外。一个例子是法医建筑公司（FA）的《死亡之船》（The Left to Die Boat），这是一部讲述2011年63名难民在利比亚水域漂流时如何丧生的视听作品。《死亡之舟》将纪录片技术与数据分析和可视化相结合，揭露悲剧，改变移民政策，维持法庭案件。本文以文献资料和文献研究为基础，考察了FA在六部文献中提出的方法论杂交。问题是：FA是如何杂交的？这种杂交的结果是什么？今天的杂交是什么？该分析将这些纪录片的特征与功能和结果联系起来，提供了一种可以在本研究之外使用的分类法。研究结果表明，激进主义正在采取多维形式，模糊了纪录片、数据科学和艺术之间的界限，以寻求影响力。
{"title":"Data and documentaries: Methodological hybridizations in activism","authors":"Miren Gutiérrez","doi":"10.1386/cjcs_00035_1","DOIUrl":"https://doi.org/10.1386/cjcs_00035_1","url":null,"abstract":"Hybridization permeates all fields of communication: documentaries are no exception. One example is The Left-to-Die Boat by Forensic Architecture (FA), an audio-visual account of how 63 refugees lost their lives in 2011 when their ship was adrift in the waters of Libya. The Left-to-Die Boat combines documentary techniques with data analysis and visualizations to expose a tragedy, change migration policies and sustain court cases. Based on critical data and documentary studies, this article inspects the methodological hybridization proposed by FA in six documentaries. The questions are: how does FA hybridize? What are the outcomes of this hybridization? What is hybridization today? The analysis links these documentaries’ characteristics with functions and outcomes, offering a taxonomy that can be employed beyond this study. The findings indicate that activism is taking multidimensional forms, blurring the boundaries separating documentaries, data science and art in search of impact.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"315-332"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49542008","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}
{"title":"Documentary film mutations for social justice: Introductory reflections","authors":"Fernando Canet, S. Odorico, Xoxé Soengas","doi":"10.1386/cjcs_00025_2","DOIUrl":"https://doi.org/10.1386/cjcs_00025_2","url":null,"abstract":"","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"169-180"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47638312","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}
Interactive documentaries have been growing in number and importance on the international scene in numerous fields and markets. Interactive documentaries entered the field of health about a decade ago, and since then they have proven to be a worthwhile tool for exploring various health issues, such as living with HIV. More recently, experts and academics have started to explore interactive documentaries dealing with a newly emerging topic – stigma. Stigma has negative consequences in every aspect of a person’s life. When it comes to health, people with stigmatized conditions have the worst outcomes, a problem ultimately related to their own power and agency. The media and culture are two structural sources of stigmatization, and cultural trauma has been suggested as one of its mediators. This study seeks to examine interactive documentaries as a tool for raising awareness of the impact of HIV-related stigma and cultural trauma. To this end, it analyses two interactive documentaries, Vertical/Horizontal and The Graying of AIDS, focusing on the device, narrative and textual elements used by these documentaries to deal with the impact of stigma in health, and elaborating on how these cultural productions represent people living with stigma and whether that representation challenges or reinforces stigmatization.
{"title":"Interactive documentaries and health: Combating HIV-related stigma and cultural trauma","authors":"Sergio Villanueva Baselga","doi":"10.1386/CJCS_00032_1","DOIUrl":"https://doi.org/10.1386/CJCS_00032_1","url":null,"abstract":"Interactive documentaries have been growing in number and importance on the international scene in numerous fields and markets. Interactive documentaries entered the field of health about a decade ago, and since then they have proven to be a worthwhile tool for exploring various health issues, such as living with HIV. More recently, experts and academics have started to explore interactive documentaries dealing with a newly emerging topic – stigma. Stigma has negative consequences in every aspect of a person’s life. When it comes to health, people with stigmatized conditions have the worst outcomes, a problem ultimately related to their own power and agency. The media and culture are two structural sources of stigmatization, and cultural trauma has been suggested as one of its mediators. This study seeks to examine interactive documentaries as a tool for raising awareness of the impact of HIV-related stigma and cultural trauma. To this end, it analyses two interactive documentaries, Vertical/Horizontal and The Graying of AIDS, focusing on the device, narrative and textual elements used by these documentaries to deal with the impact of stigma in health, and elaborating on how these cultural productions represent people living with stigma and whether that representation challenges or reinforces stigmatization.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47072038","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}
There are few empirical studies on the cultural consequences of social movements. This article contributes to alleviating this problem, examining the cultural outcomes produced by the action of the Platform for People Affected by Mortgages (PAH), one of the most important social movement organizations to appear in Spain in the 2010s. Concretely, through qualitative methods, we analyse the content and form of the PAH’s discourse and the communicative practices developed to disseminate it to the population. Following, we examine this diffusion using quantitative methods. The article shows that PAH activists produced a discourse with a form and content that sought to achievealignmentwith the common sense of the majority of the population, that their communicative practices took advantage of the opportunities offered by social and mass media, and, lastly, that the PAH’s diagnosis and proposalsresonatedamong a majority of the population.
{"title":"Yes, it is possible! Framing processes and social resonance of Spain’s anti-eviction movement","authors":"Oriol Barranco, Lluís Parcerisa","doi":"10.1386/cjcs_00013_1","DOIUrl":"https://doi.org/10.1386/cjcs_00013_1","url":null,"abstract":"There are few empirical studies on the cultural consequences of social movements. This article contributes to alleviating this problem, examining the cultural outcomes produced by the action of the Platform for People Affected by Mortgages (PAH), one of the most important social movement organizations to appear in Spain in the 2010s. Concretely, through qualitative methods, we analyse the content and form of the PAH’s discourse and the communicative practices developed to disseminate it to the population. Following, we examine this diffusion using quantitative methods. The article shows that PAH activists produced a discourse with a form and content that sought to achievealignmentwith the common sense of the majority of the population, that their communicative practices took advantage of the opportunities offered by social and mass media, and, lastly, that the PAH’s diagnosis and proposalsresonatedamong a majority of the population.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"37-57"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42248049","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}
A paradigm shift has happened in the relationship between the spectator and the woman-on-the-screen. The shift from an analogue to a digital era implies that the dynamics of objectification have also shifted irrevocably. The two ages of voyeurism are characterized, respectively, through Hitchcock’s Rear Window (1954) and Alex Garland’s Ex Machina (2014). The paper reads that the voyeur in the analogue frame of Rear Window (Jeff) is in a metaphoric relationship with the women-through-his-lens while the spectator ‐ post-2013-drawing from an archive of pornography is in a synecdochic relationship where the woman is, to invoke Shelley Jackson, a ‘Stitch Bitch’. The article posits that the telltale shift has caused a change in the materiality of the woman which has, technologically, gravitated from a celluloid frame to an algorithmic reconstitution. It means, in the digital era, the spectator‐voyeur’s relationship with and the objectification of the woman has been reset: From Pin-up to the Patchwork girl.
{"title":"The Sculptor and the Professor: Two ages of objectification by the film spectator","authors":"Vinod Balakrishnan, Anupama Asokan Ponnamma","doi":"10.1386/cjcs_00018_1","DOIUrl":"https://doi.org/10.1386/cjcs_00018_1","url":null,"abstract":"A paradigm shift has happened in the relationship between the spectator and the woman-on-the-screen. The shift from an analogue to a digital era implies that the dynamics of objectification have also shifted irrevocably. The two ages of voyeurism are characterized, respectively, through\u0000 Hitchcock’s Rear Window (1954) and Alex Garland’s Ex Machina (2014). The paper reads that the voyeur in the analogue frame of Rear Window (Jeff) is in a metaphoric relationship with the women-through-his-lens while the spectator ‐ post-2013-drawing from\u0000 an archive of pornography is in a synecdochic relationship where the woman is, to invoke Shelley Jackson, a ‘Stitch Bitch’. The article posits that the telltale shift has caused a change in the materiality of the woman which has, technologically, gravitated from a celluloid frame\u0000 to an algorithmic reconstitution. It means, in the digital era, the spectator‐voyeur’s relationship with and the objectification of the woman has been reset: From Pin-up to the Patchwork girl.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"135-144"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43114778","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}
Review of: Usos políticos de la metáfora. Medios, instituciones y ciudadanía en la definición de conflictos en la esfera pública, A. Capdevila Gómez and C. Moragas-Fernández (eds) (2019)Barcelona: Icaria, 184 pp.,ISBN 978-8-49888-931-4, p/bk, €18
{"title":"Usos políticos de la metáfora. Medios, instituciones y ciudadanía en la definición de conflictos en la esfera pública, A. Capdevila Gómez and C. Moragas-Fernández (eds) (2019)","authors":"Carmen Imelda González Gómez","doi":"10.1386/cjcs_00022_5","DOIUrl":"https://doi.org/10.1386/cjcs_00022_5","url":null,"abstract":"Review of: Usos políticos de la metáfora. Medios, instituciones y ciudadanía en la definición de conflictos en la esfera pública, A. Capdevila Gómez and C. Moragas-Fernández (eds) (2019)Barcelona: Icaria, 184 pp.,ISBN 978-8-49888-931-4,\u0000 p/bk, €18","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"157-158"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49085554","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}
Review of: Mutaciones discursivas en el siglo XXI: la política en los medios y las redes, N. Pellisser Rossell and J. M. Oleaque Moreno (eds) (2019)Valencia: Tirant lo Blanch, 391 pp.,ISBN 978-8-41770-623-4, p/bk, €25
《21世纪的话语变化:媒体和网络中的政治》，N. Pellisser Rossell和J. M. Oleaque Moreno(编)(2019)Valencia: Tirant lo Blanch, 391页，ISBN 978-8-4 770-623-4, p/bk，€25
{"title":"Mutaciones discursivas en el siglo XXI: la política en los medios y las redes, N. Pellisser Rossell and J. M. Oleaque Moreno (eds) (2019)","authors":"D. Calvo","doi":"10.1386/cjcs_00023_5","DOIUrl":"https://doi.org/10.1386/cjcs_00023_5","url":null,"abstract":"Review of: Mutaciones discursivas en el siglo XXI: la política en los medios y las redes, N. Pellisser Rossell and J. M. Oleaque Moreno (eds) (2019)Valencia: Tirant lo Blanch, 391 pp.,ISBN 978-8-41770-623-4, p/bk, €25","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"159-160"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46140516","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}
The foundation of the article is based on the notion that self-disclosure is one of the most significant factors of contemporary vernacular photography. Argued through conceptual analysis and real-life examples, the role of self-disclosure is analysed in relation to the somewhat institutionalized functions of vernacular photography: (1) preserving memories, (2) maintaining and creating new social relationships, (3) self-presentation and (4) self-expression. The article sheds light on the widespread use of cameraphones and how the role of self-disclosure differs notably within the four chosen functions, since its absence among private photographs contributes to personal and unique memories; and within shared photographs, it defines how people want to be seen by others and themselves. The benefits and challenges of private and shared photography are also evaluated.
{"title":"Photographic public sphere: Identity building with vernacular photography","authors":"Altti Näsi","doi":"10.1386/cjcs_00012_1","DOIUrl":"https://doi.org/10.1386/cjcs_00012_1","url":null,"abstract":"The foundation of the article is based on the notion that self-disclosure is one of the most significant factors of contemporary vernacular photography. Argued through conceptual analysis and real-life examples, the role of self-disclosure is analysed in relation to the somewhat institutionalized functions of vernacular photography: (1) preserving memories, (2) maintaining and creating new social relationships, (3) self-presentation and (4) self-expression. The article sheds light on the widespread use of cameraphones and how the role of self-disclosure differs notably within the four chosen functions, since its absence among private photographs contributes to personal and unique memories; and within shared photographs, it defines how people want to be seen by others and themselves. The benefits and challenges of private and shared photography are also evaluated.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"21-36"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47880138","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}
This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elements from these conventions, classic noir has been affected by European film movements whilst influencing them. Noir holds a critical position to the social conditions of its era, defined usually from the early 1940s to the late 1950s. It also produces generic stereotypical characters such as the ‘hardboiled’ detective and the femme fatale that are both embraced and highly criticized by film theoreticians. However, film noir is an ambivalent concept, a category of films that can be sensed, yet resists delimitation within strict boundaries.
{"title":"Debates about the generic ontology of film noir","authors":"Eleni Varmazi, Funda Kaya","doi":"10.1386/cjcs_00019_1","DOIUrl":"https://doi.org/10.1386/cjcs_00019_1","url":null,"abstract":"This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked\u0000 with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions.\u0000 While inhabiting elements from these conventions, classic noir has been affected by European film movements whilst influencing them. Noir holds a critical position to the social conditions of its era, defined usually from the early 1940s to the late 1950s. It also produces generic stereotypical\u0000 characters such as the ‘hardboiled’ detective and the femme fatale that are both embraced and highly criticized by film theoreticians. However, film noir is an ambivalent concept, a category of films that can be sensed, yet resists delimitation within strict boundaries.","PeriodicalId":53977,"journal":{"name":"Catalan Journal of Communication & Cultural Studies","volume":"12 1","pages":"145-152"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48342123","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}
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