After retiring from The Suze Orman Show, Suze Orman remained highly visible across media. Recently, she returned with her revised bestseller Women and Money (2018a) and a weekly podcast timed to coincide with #metoo. Across media, Orman has utilized the affect associated with feminine media genres, including self-help and makeover shows, to promote a lifestyle based on proper financial self-management. Her advice to women about marriage, motherhood, and filial duty makes it clear that such discipline is particularly gendered. Orman both uses and chafes against feminist discourses to frame finance as another problem to be managed for women. I understand Orman’s advice as affective through her use of fear, shame, and pride to promote individualized financialization at the expense of interpersonal relationships. My unique approach brings affect theory to financial media through analysis of Orman’s media texts.
从The Suze Orman Show退休后，Suze Orman仍然在媒体上保持着很高的知名度。最近，她带着修订后的畅销书《女人与金钱》(Women and Money, 2018a)和每周播客(与#metoo同步)回归。在整个媒体中，奥曼利用了与女性媒体类型相关的影响，包括自助和美容节目，来推广一种基于适当财务自我管理的生活方式。她对女性关于婚姻、母性和孝道的建议清楚地表明，这种纪律是特别性别化的。奥曼利用女权主义话语，将金融问题框定为女性需要解决的另一个问题。我理解奥曼的建议是有效的，因为她利用恐惧、羞耻和骄傲来促进个性化的金融化，而牺牲了人际关系。我独特的方法是通过对奥曼媒体文本的分析，将影响理论引入财经媒体。
{"title":"Love is an Emergency Savings Fund: Suze Orman’s Advice as Affective Discipline","authors":"Diane L. Cormany","doi":"10.1093/ccc/tcaa023","DOIUrl":"https://doi.org/10.1093/ccc/tcaa023","url":null,"abstract":"\u0000 After retiring from The Suze Orman Show, Suze Orman remained highly visible across media. Recently, she returned with her revised bestseller Women and Money (2018a) and a weekly podcast timed to coincide with #metoo. Across media, Orman has utilized the affect associated with feminine media genres, including self-help and makeover shows, to promote a lifestyle based on proper financial self-management. Her advice to women about marriage, motherhood, and filial duty makes it clear that such discipline is particularly gendered. Orman both uses and chafes against feminist discourses to frame finance as another problem to be managed for women. I understand Orman’s advice as affective through her use of fear, shame, and pride to promote individualized financialization at the expense of interpersonal relationships. My unique approach brings affect theory to financial media through analysis of Orman’s media texts.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85715590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article applies theories of cosmopolitanism-from-below A. Appadurai (2011), F. Kurasawa (2004) to an empirical case. Drawing on participant-observation and interviews conducted over the course of 20 months at a Korean-English Meetup group in the United States, this article explores the practices of an explicitly “cosmopolitan” group. Specifically, it focuses on U.S. Americans and Korean interns, and considers their experiences and motivations within the broader structures of neoliberalism. The group is identified as alternately exemplifying and challenging neoliberal logic and the article considers the relationship between neoliberalism and different forms of cosmopolitanism. The cosmopolitan ethos fostered by the group’s founder and reinforced through members’ practice offers preliminary but hopeful evidence of a cosmopolitanism that challenges neoliberalism and the uneven distribution of cultural/economic capital.
{"title":"Neoliberalism From Above and Cosmopolitanism From Below: A Korean-English Meetup Group in the United States","authors":"N. Curran","doi":"10.1093/ccc/tcaa020","DOIUrl":"https://doi.org/10.1093/ccc/tcaa020","url":null,"abstract":"\u0000 This article applies theories of cosmopolitanism-from-below A. Appadurai (2011), F. Kurasawa (2004) to an empirical case. Drawing on participant-observation and interviews conducted over the course of 20 months at a Korean-English Meetup group in the United States, this article explores the practices of an explicitly “cosmopolitan” group. Specifically, it focuses on U.S. Americans and Korean interns, and considers their experiences and motivations within the broader structures of neoliberalism. The group is identified as alternately exemplifying and challenging neoliberal logic and the article considers the relationship between neoliberalism and different forms of cosmopolitanism. The cosmopolitan ethos fostered by the group’s founder and reinforced through members’ practice offers preliminary but hopeful evidence of a cosmopolitanism that challenges neoliberalism and the uneven distribution of cultural/economic capital.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86866887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I propose that we think of the recent concern over fake news, misinformation, disinformation, and conspiracy theories as a moral panic. I revisit Stuart Hall and his co-authors’ concept, updating it in two ways. First, I focus on how the current panic has altered what they called “primary definers” (which now includes professional journalism, as a result of their own waning authority). Second, the new alliance of panic actors (journalism, technology companies, intelligence agencies, politicians, civil society organizations) are expressions of a crisis policing that is now martialized. I assess this new nexus in terms of a breakdown of civil peace into outright hostilities; as a counterinsurgency operation. I draw on Michel Foucault’s strategic analysis of power and society that challenges boundaries between politics and war. This nexus is waging what I call a war of restoration, one that has significant implications for dissent and oppositional knowledges.
{"title":"Civil Society Must Be Defended: Misinformation, Moral Panics, and Wars of Restoration","authors":"J. Bratich","doi":"10.1093/ccc/tcz041","DOIUrl":"https://doi.org/10.1093/ccc/tcz041","url":null,"abstract":"\u0000 In this article, I propose that we think of the recent concern over fake news, misinformation, disinformation, and conspiracy theories as a moral panic. I revisit Stuart Hall and his co-authors’ concept, updating it in two ways. First, I focus on how the current panic has altered what they called “primary definers” (which now includes professional journalism, as a result of their own waning authority). Second, the new alliance of panic actors (journalism, technology companies, intelligence agencies, politicians, civil society organizations) are expressions of a crisis policing that is now martialized. I assess this new nexus in terms of a breakdown of civil peace into outright hostilities; as a counterinsurgency operation. I draw on Michel Foucault’s strategic analysis of power and society that challenges boundaries between politics and war. This nexus is waging what I call a war of restoration, one that has significant implications for dissent and oppositional knowledges.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79249128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Participants in the #MeToo movement on Twitter expressed emotions like rage, pain, and solidarity in their personal accounts of sexual violence. This article explores the digital circulation of these affects and considers how the outpouring of tweets about sexual harassment and abuse contribute to a feminist politics centered on collective healing. The particular emotions expressed in the #MeToo Twitter archive subvert the logics of quantification and visibility that undergird popular feminism and the attention economy, and produce an affective excess that works toward movement founder Tarana Burke’s original project of “mass healing.” At a moment wherein popular feminism emphasizes individual empowerment and consumption, and carceral feminism relies on criminalization and incarceration, the #MeToo movement’s focus on shared emotions represents the potential for a feminist politics rooted in collective support and restorative justice.
{"title":"#MeToo and the Politics of Collective Healing: Emotional Connection as Contestation","authors":"Allison Page, Jacquelyn Arcy","doi":"10.1093/ccc/tcz032","DOIUrl":"https://doi.org/10.1093/ccc/tcz032","url":null,"abstract":"Participants in the #MeToo movement on Twitter expressed emotions like rage, pain, and solidarity in their personal accounts of sexual violence. This article explores the digital circulation of these affects and considers how the outpouring of tweets about sexual harassment and abuse contribute to a feminist politics centered on collective healing. The particular emotions expressed in the #MeToo Twitter archive subvert the logics of quantification and visibility that undergird popular feminism and the attention economy, and produce an affective excess that works toward movement founder Tarana Burke’s original project of “mass healing.” At a moment wherein popular feminism emphasizes individual empowerment and consumption, and carceral feminism relies on criminalization and incarceration, the #MeToo movement’s focus on shared emotions represents the potential for a feminist politics rooted in collective support and restorative justice.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82157427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the predominately Asian American “Anti-Phandom” community on GuruGossiper.com to explore how anti-fans of YouTube star Michelle Phan engage with ideologies of beauty cultures within Asian diasporic contexts. For many, Anti-Phandom provides an online space where personal concerns about female Asian beauty standards can be negotiated through Michelle Phan. Within these conversations, I argue Anti-Phans display forms of resistance to Phan's postfeminist forms of female empowerment on racial and ethnic terms. However, these counters to Phan's notions of beauty also produce a rubric of the beautiful Asian woman which renders difference as ugly, creating idealized definitions of racial beauty and Asian/American cultures based on essentialized categories that police diasporic women.
{"title":"Imagining the Perfect Asian Woman Through Hate: Michelle Phan, Anti-Phandom, and Asian Diasporic Beauty Cultures","authors":"T. Tran","doi":"10.1093/ccc/tcz057","DOIUrl":"https://doi.org/10.1093/ccc/tcz057","url":null,"abstract":"\u0000 This article examines the predominately Asian American “Anti-Phandom” community on GuruGossiper.com to explore how anti-fans of YouTube star Michelle Phan engage with ideologies of beauty cultures within Asian diasporic contexts. For many, Anti-Phandom provides an online space where personal concerns about female Asian beauty standards can be negotiated through Michelle Phan. Within these conversations, I argue Anti-Phans display forms of resistance to Phan's postfeminist forms of female empowerment on racial and ethnic terms. However, these counters to Phan's notions of beauty also produce a rubric of the beautiful Asian woman which renders difference as ugly, creating idealized definitions of racial beauty and Asian/American cultures based on essentialized categories that police diasporic women.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80737123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A comparison of the behaviors of two creative populations operating within cross-media environments in the United States and Australia tests the comparative effect of the two nations' legal environments on the range of creative expression and on costs of production in increasingly digitized production processes. The U.S. creators have access to the flexible and expansive exception of fair use, while Australian creators' ability to use third-party copyrighted content are far more constrained. While availability of copyright exceptions plays a crucial role, other factors including demographics, disciplinary norms, and social inequality may also be important in creative practices and professions.
{"title":"Creative Action Under Two Copyright Regimes: Filmmaking and Visual Arts in Australia and the United States","authors":"Aram Sinnreich, P. Aufderheide, Donte Newman","doi":"10.1093/ccc/tcaa003","DOIUrl":"https://doi.org/10.1093/ccc/tcaa003","url":null,"abstract":"\u0000 A comparison of the behaviors of two creative populations operating within cross-media environments in the United States and Australia tests the comparative effect of the two nations' legal environments on the range of creative expression and on costs of production in increasingly digitized production processes. The U.S. creators have access to the flexible and expansive exception of fair use, while Australian creators' ability to use third-party copyrighted content are far more constrained. While availability of copyright exceptions plays a crucial role, other factors including demographics, disciplinary norms, and social inequality may also be important in creative practices and professions.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77003720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white tourists. The city's cultural entrepreneurs challenged false dominant narratives and public policies that marginalized black urban culture as dangerous and deviant. A crack-down on postering in the late 1990s was an early harbinger of gentrification.
{"title":"Fluorescent Flags: Black Power, Publicity, and Counternarratives in Go-Go Street Posters in the 1980s","authors":"N. Hopkinson","doi":"10.1093/ccc/tcz058","DOIUrl":"https://doi.org/10.1093/ccc/tcz058","url":null,"abstract":"\u0000 This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white tourists. The city's cultural entrepreneurs challenged false dominant narratives and public policies that marginalized black urban culture as dangerous and deviant. A crack-down on postering in the late 1990s was an early harbinger of gentrification.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80468064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes how users' engagements with digital platforms through the act of clicking are coded as meaningful for the production of affinity, a way of assessing identity amongst users. Drawing on an understanding of identity as related to the Latin idem—or same—this article explores how streaming media company Netflix uses click-based A/B testing to create “taste doppelgängers” that live in “taste communities” and help structure the recommendations, home pages, and image thumbnails that users experience. Clicks are figured as communicative gestures that platform engineers decode and analyze as part of ongoing experiments for refining algorithms and interface design. Drawing additionally on an analysis of Netflix's recent move into interactive television—in particular, Black Mirror: Bandersnatch—this article ultimately argues for attention to how platforms like Netflix treat users as test subjects for the purposes of constructing idem-based affinities.
{"title":"To Affinity and Beyond: Clicking as Communicative Gesture on the Experimentation Platform","authors":"James N. Gilmore","doi":"10.1093/ccc/tcaa005","DOIUrl":"https://doi.org/10.1093/ccc/tcaa005","url":null,"abstract":"This article analyzes how users' engagements with digital platforms through the act of clicking are coded as meaningful for the production of affinity, a way of assessing identity amongst users. Drawing on an understanding of identity as related to the Latin idem—or same—this article explores how streaming media company Netflix uses click-based A/B testing to create “taste doppelgängers” that live in “taste communities” and help structure the recommendations, home pages, and image thumbnails that users experience. Clicks are figured as communicative gestures that platform engineers decode and analyze as part of ongoing experiments for refining algorithms and interface design. Drawing additionally on an analysis of Netflix's recent move into interactive television—in particular, Black Mirror: Bandersnatch—this article ultimately argues for attention to how platforms like Netflix treat users as test subjects for the purposes of constructing idem-based affinities.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86416876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Premiering on Saturday nights in summer of 2018, the barely-promoted Random Acts of Flyness (RAOF) was buried in HBO’s schedule. The highly experimental series combines many forms, including late night talk show, documentary, claymation, and sketch show, amongst many others. With stylistic techniques such as Afrosurrealism and self-reflexivity alongside discursive tools that heighten the series’ claim to “quality,” I argue that RAOF utilizes its surreal and distinctly black creative production to critically examine representations of blackness and whiteness in the media and American culture. I further contend that, for HBO, independent filmmaker and series creator Terence Nance’s pedigree fits the channel’s long-standing association with “higher” art forms, even as the series does not fit into historically white and affluent notions of “quality.” As the television landscape becomes broader and markers of “quality” become harder to pin down, the series’ incisive look at blackness proves to be an exceptional case study.
{"title":"“We should be addressing whiteness less, and affirming blackness more”: Random Acts of Flyness, Afrosurrealism, and Quality Programming","authors":"Eric Forthun","doi":"10.1093/ccc/tcaa013","DOIUrl":"https://doi.org/10.1093/ccc/tcaa013","url":null,"abstract":"\u0000 Premiering on Saturday nights in summer of 2018, the barely-promoted Random Acts of Flyness (RAOF) was buried in HBO’s schedule. The highly experimental series combines many forms, including late night talk show, documentary, claymation, and sketch show, amongst many others. With stylistic techniques such as Afrosurrealism and self-reflexivity alongside discursive tools that heighten the series’ claim to “quality,” I argue that RAOF utilizes its surreal and distinctly black creative production to critically examine representations of blackness and whiteness in the media and American culture. I further contend that, for HBO, independent filmmaker and series creator Terence Nance’s pedigree fits the channel’s long-standing association with “higher” art forms, even as the series does not fit into historically white and affluent notions of “quality.” As the television landscape becomes broader and markers of “quality” become harder to pin down, the series’ incisive look at blackness proves to be an exceptional case study.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78195076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study investigates a battle over music and identity at Radio Zapotitlán, a community radio station in the state of Jalisco, Mexico. An analysis of over 20 interviews with station organizers, volunteers and listeners conducted in 2009 and 2010 indicates that while organizers and older listeners celebrated Ranchera music as the station’s predominant musical content, younger listeners fought to broadcast contemporary Banda music. An historical and theoretical analysis of Ranchera music explores its cultural role in mediating experiences of migration and nostalgia. This study finds that Radio Zapotitlán organizers promoted Ranchera music in order to engage the national and transnational nostalgia of Zapotitlán’s displaced migrants, and to meet the expectations of government regulators and transnational nongovernmental organizations (NGOs). It concludes that local, regional, national and transnational interests cannot be disentangled in musical articulations of identity at Radio Zapotitlán.
{"title":"Mediating Nostalgia: The Meaning of Ranchera Music at a Mexican Community Radio Station","authors":"J. Hayes","doi":"10.1093/ccc/tcaa004","DOIUrl":"https://doi.org/10.1093/ccc/tcaa004","url":null,"abstract":"\u0000 This study investigates a battle over music and identity at Radio Zapotitlán, a community radio station in the state of Jalisco, Mexico. An analysis of over 20 interviews with station organizers, volunteers and listeners conducted in 2009 and 2010 indicates that while organizers and older listeners celebrated Ranchera music as the station’s predominant musical content, younger listeners fought to broadcast contemporary Banda music. An historical and theoretical analysis of Ranchera music explores its cultural role in mediating experiences of migration and nostalgia. This study finds that Radio Zapotitlán organizers promoted Ranchera music in order to engage the national and transnational nostalgia of Zapotitlán’s displaced migrants, and to meet the expectations of government regulators and transnational nongovernmental organizations (NGOs). It concludes that local, regional, national and transnational interests cannot be disentangled in musical articulations of identity at Radio Zapotitlán.","PeriodicalId":54193,"journal":{"name":"Communication Culture & Critique","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2020-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78096618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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