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Roger Stahl, Through the Crosshairs: War, Visual Culture, and the Weaponized Gaze 罗杰·斯塔尔:《穿越准星:战争、视觉文化和武器化的凝视》
Q4 COMMUNICATION Pub Date : 2020-02-05 DOI: 10.33137/mt.v7i2.33481
J. Ohl
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引用次数: 3
Inscribing Interiority and Ideology: Representing the Visually Elusive in the American Petroleum Institute’s Cold War Films 隐含的内在性与意识形态:美国石油学会冷战电影中的视觉暗示
Q4 COMMUNICATION Pub Date : 2020-02-05 DOI: 10.33137/mt.v7i2.33667
Ila Tyagi
Films sponsored by the American oil industry during the Cold War often pit communism and capitalism against each other, arguing for the latter’s ideological superiority. Since abstract ideologies are difficult to represent visually, the battle takes concrete form via depictions of layers of underground rock in films like The Last Ten Feet (1949) and Destination Earth (1956), which demonstrate how the American oil industry’s engineering ingenuity locates and extracts the precious crude oil reserves found therein. In this essay, I argue that by harnessing moving images’ power to visualize the optically elusive, films sponsored by the oil industry show it to have technological access to customarily inaccessible underground space, thus making the industry seem a more potent foil for the Red menace.Image Credit: Screenshot from Destination Earth (1956).
冷战期间,美国石油工业赞助的电影经常让共产主义和资本主义相互对立,为后者的意识形态优势辩护。由于抽象的意识形态很难在视觉上表现出来,这场战斗通过《最后十英尺》(1949年)和《目的地地球》(1956年)等电影中对地下岩石层的描绘而呈现出具体的形式,这些电影展示了美国石油业的工程智慧是如何定位和提取其中发现的宝贵原油储量的。在这篇文章中,我认为,通过利用运动图像的力量来可视化光学上难以捉摸的东西,石油行业赞助的电影表明,它可以通过技术进入通常无法进入的地下空间,从而使该行业似乎是红色威胁的更有力陪衬。图片来源:Destination Earth(1956)的截图。
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引用次数: 2
“Standing Up for Canadian Oil & Gas Families”: Tracing Gender, Family, and Work In the Alberta Petro-economy “为加拿大石油和天然气家庭挺身而出”:追踪阿尔伯塔省石油经济中的性别、家庭和工作
Q4 COMMUNICATION Pub Date : 2020-02-05 DOI: 10.33137/mt.v7i2.33669
Alicia Massie, E. Jackson
Drawing on the social media content of four pro-oil Facebook groups, we argue that these ‘subsidized publics’ play an increasingly critical role in facilitating oil and gas companies’ continued accumulation of fossil capital. We adopt O’Shaughnessy and Krogman’s (2011) analytical framework to reveal material-discursive contradictions obscured from view in the pages of these online groups. Through deploying gendered and familial discourses, these subsidized publics celebrate traditional gender roles, present oil as a ubiquitous and benevolent force, and blur the divide between oil and gas workers on the one hand, and absentee transnational employers on the other. In an era of advanced neoliberal petro-capitalism, these quasi-public entities are masking the inherently unequal power relationship that exists between the two. Moreover, in projecting a working-class ethos, we argue that these familial and gendered discourses create a homogenizing narrative, advancing the false notion of a “classless and horizontally beneficial” industry (Gaventa, 1982, p. 58). Our analysis disrupts neoliberal representations of de-gendered extraction and highlights the extent to which gender remains a key axis within resource communities.
根据四个支持石油的Facebook群组的社交媒体内容,我们认为,这些“受补贴的公众”在促进石油和天然气公司继续积累化石资本方面发挥着越来越重要的作用。我们采用O’Shaughnessy和Krogman(2011)的分析框架来揭示这些在线群组页面中被遮蔽的材料话语矛盾。通过部署性别和家庭话语,这些受补贴的公众庆祝传统的性别角色,将石油视为一股无处不在的慈善力量,并模糊了石油和天然气工人与缺席的跨国雇主之间的鸿沟。在一个先进的新自由主义石油资本主义时代,这些准公共实体掩盖了两者之间固有的不平等权力关系。此外,在投射工人阶级精神的过程中,我们认为这些家庭化和性别化的话语创造了一种同质化的叙事,推进了“无阶级和横向有益”行业的错误概念(Gaventa,1982,第58页)。我们的分析颠覆了新自由主义对去性别提取的表述,并强调了性别在多大程度上仍然是资源社区中的一个关键轴心。
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引用次数: 1
Aaron Tucker, Interfacing with the Internet in Popular Cinema 亚伦·塔克:《流行电影与互联网的交互》
Q4 COMMUNICATION Pub Date : 2019-10-28 DOI: 10.33137/mt.v7i2.33200
L. Fan
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引用次数: 0
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