Amid all its other shocks and stresses, the COVID-19 pandemic surfaced a largely forgotten, complex debate that lurks in the background of our public conversation about big tech. Access to reliable broadband internet service became the factor determining who could work from home—and who could learn, see a doctor, visit with friends and family, go to church, or shop from home. It became clear that basic access to education relied on this one weird problem: the so-called digital divide between internet haves and have-nots that decades of advocacy and investment had failed to fi x. Suddenly, the world was reminded that lots and lots of people—about half of those in developing countries and up to a quarter in some developed countries—do not have access to, or cannot aff ord, reliable broadband service and internet-enabled devices.1 Moreover, the 25 percent of US residents without broadband access are already experiencing other kinds of structural inequity. These are racialized, minoritized, and low-income groups, the same who were disproportionately exposed to the deprivations of COVID-19.2 During the pandemic, policymakers began to zero in on broadband internet as a critical component of stimulus relief. The CARES Act, the Infrastructure Investment and Jobs Act, and various unnamed stimulus packages contained targeted spending allocations for broadband infrastructure
{"title":"Opening the Broadband Access Paradox","authors":"G. Byrum","doi":"10.1353/cj.2023.a904637","DOIUrl":"https://doi.org/10.1353/cj.2023.a904637","url":null,"abstract":"Amid all its other shocks and stresses, the COVID-19 pandemic surfaced a largely forgotten, complex debate that lurks in the background of our public conversation about big tech. Access to reliable broadband internet service became the factor determining who could work from home—and who could learn, see a doctor, visit with friends and family, go to church, or shop from home. It became clear that basic access to education relied on this one weird problem: the so-called digital divide between internet haves and have-nots that decades of advocacy and investment had failed to fi x. Suddenly, the world was reminded that lots and lots of people—about half of those in developing countries and up to a quarter in some developed countries—do not have access to, or cannot aff ord, reliable broadband service and internet-enabled devices.1 Moreover, the 25 percent of US residents without broadband access are already experiencing other kinds of structural inequity. These are racialized, minoritized, and low-income groups, the same who were disproportionately exposed to the deprivations of COVID-19.2 During the pandemic, policymakers began to zero in on broadband internet as a critical component of stimulus relief. The CARES Act, the Infrastructure Investment and Jobs Act, and various unnamed stimulus packages contained targeted spending allocations for broadband infrastructure","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73421895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Elizabeth Ellcessor, Bonnie Ruberg, Juan Llamas-Rodriguez, M. Bernhardt, Laliv Melamed, Sergio Rigoletto, Stephen Woo, G. Zinman, Irene González-López, Hide Murakawa, Shannon Mattern, Hannah Zeavin, Christine H. Tran, Jing Zeng, Paul Soulellis, Lucy Pei, Roderic N. Crooks, G. Byrum, Crystal Camargo, S. Enzerink, Farzaneh Ebrahimzadeh Holasu, Michael Z. Newman, Maria do Carmo Piçarra, N. Couret, Christine Sprengler
abstract:This article explores how 1950s television producers and corporate sponsors used situation comedies to address critiques of capitalism and US race relations through portrayals of middle-class accessibility for Mexican, Cuban, and Chinese immigrants. Emphasizing their foreignness, they portrayed these immigrants as welcome members of US society, embraced as friends by white Americans who helped them assimilate to show they faced no obstacles to class mobility due to discrimination. If immigrants struggled to join the middle class, it was because of personal shortcomings related to cultural backwardness, which emphasized the importance of assimilation.
{"title":"Studying Media Now: Greetings from JCMS's New Editors","authors":"Elizabeth Ellcessor, Bonnie Ruberg, Juan Llamas-Rodriguez, M. Bernhardt, Laliv Melamed, Sergio Rigoletto, Stephen Woo, G. Zinman, Irene González-López, Hide Murakawa, Shannon Mattern, Hannah Zeavin, Christine H. Tran, Jing Zeng, Paul Soulellis, Lucy Pei, Roderic N. Crooks, G. Byrum, Crystal Camargo, S. Enzerink, Farzaneh Ebrahimzadeh Holasu, Michael Z. Newman, Maria do Carmo Piçarra, N. Couret, Christine Sprengler","doi":"10.1353/cj.2023.a904623","DOIUrl":"https://doi.org/10.1353/cj.2023.a904623","url":null,"abstract":"abstract:This article explores how 1950s television producers and corporate sponsors used situation comedies to address critiques of capitalism and US race relations through portrayals of middle-class accessibility for Mexican, Cuban, and Chinese immigrants. Emphasizing their foreignness, they portrayed these immigrants as welcome members of US society, embraced as friends by white Americans who helped them assimilate to show they faced no obstacles to class mobility due to discrimination. If immigrants struggled to join the middle class, it was because of personal shortcomings related to cultural backwardness, which emphasized the importance of assimilation.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82330115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:In 1953, Tanaka Kinuyo, one of Japan's legendary stars, made her debut as a film director, becoming the first Japanese woman to regularly direct feature-length fiction films. In "Eiga kantoku Tanaka Kinuyo" ("Film Director Tanaka Kinuyo," 2016), Murakawa Hide explores Tanaka's early directorial career through interviews with actors and staff members who worked under Tanaka at the time. These interviews provide valuable insight into the industrial and political context in which Tanaka debuted and how she was perceived inside the industry. Included here is an original translation of Murakawa's article as well as an introduction from the translator addressing how the gendered experiences of authorship, stardom, and ageism intersect in Tanaka's directorial career.
{"title":"\"Film Director Tanaka Kinuyo\": The Challenges of Female Authorship","authors":"Irene González-López, Hide Murakawa","doi":"10.1353/cj.2023.a904630","DOIUrl":"https://doi.org/10.1353/cj.2023.a904630","url":null,"abstract":"abstract:In 1953, Tanaka Kinuyo, one of Japan's legendary stars, made her debut as a film director, becoming the first Japanese woman to regularly direct feature-length fiction films. In \"Eiga kantoku Tanaka Kinuyo\" (\"Film Director Tanaka Kinuyo,\" 2016), Murakawa Hide explores Tanaka's early directorial career through interviews with actors and staff members who worked under Tanaka at the time. These interviews provide valuable insight into the industrial and political context in which Tanaka debuted and how she was perceived inside the industry. Included here is an original translation of Murakawa's article as well as an introduction from the translator addressing how the gendered experiences of authorship, stardom, and ageism intersect in Tanaka's directorial career.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89349319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
M, a professional community organizer in the midwestern United States who works with undocumented youth, talks us through a typical day at work. Her role focuses on the creation, aggregation, and analysis of data using a commercial platform called EveryAction, but she chafes at questions about the procedures, formats, or outputs of data work. Our research team asks a series of questions that prompt respondents such as M to describe the qualities of the data they work with and what they do with it—questions we have used to study other kinds of data professionals, at city offi ces and in public school districts. After several prodding questions that turn again and again to the particulars of data in her work, M fi nally tells our interviewers bluntly, “What I’ve learned from many years, now at this point over ten years of organizing, mostly around immigrant rights, is that yes, maybe numbers and facts do cause a shock factor. But people are motivated and persuaded to change because of their feelings and how they feel about something. And you can use that data to help them feel in a particular way, but that’s where the storytelling comes in.”1 The ongoing public crises of the 2020s illustrate the accelerating datafi cation of contemporary government bodies at all levels. Public life is increasingly organized around engagements with data, especially data in visual form.2 Dashboards produced by national, county, state, and city bureaucracies displayed the grim, unrelenting number of COVID-19 deaths nation-
{"title":"Grassroots Data Activism","authors":"Lucy Pei, Roderic N. Crooks","doi":"10.1353/cj.2023.a904636","DOIUrl":"https://doi.org/10.1353/cj.2023.a904636","url":null,"abstract":"M, a professional community organizer in the midwestern United States who works with undocumented youth, talks us through a typical day at work. Her role focuses on the creation, aggregation, and analysis of data using a commercial platform called EveryAction, but she chafes at questions about the procedures, formats, or outputs of data work. Our research team asks a series of questions that prompt respondents such as M to describe the qualities of the data they work with and what they do with it—questions we have used to study other kinds of data professionals, at city offi ces and in public school districts. After several prodding questions that turn again and again to the particulars of data in her work, M fi nally tells our interviewers bluntly, “What I’ve learned from many years, now at this point over ten years of organizing, mostly around immigrant rights, is that yes, maybe numbers and facts do cause a shock factor. But people are motivated and persuaded to change because of their feelings and how they feel about something. And you can use that data to help them feel in a particular way, but that’s where the storytelling comes in.”1 The ongoing public crises of the 2020s illustrate the accelerating datafi cation of contemporary government bodies at all levels. Public life is increasingly organized around engagements with data, especially data in visual form.2 Dashboards produced by national, county, state, and city bureaucracies displayed the grim, unrelenting number of COVID-19 deaths nation-","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77230309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mary Beltrán’s Latino TV: A History shows the slow but incremental growth of Latina/o participation and representation in US English-language television.1 While a handful of scholars have studied Latinx representation and participation on US television, Latino TV provides the fi rst-ever account of Latina/o televisual productions and authorship since the 1950s. Throughout the book’s six chapters, Beltrán combines archival research, dozens of interviews with TV professionals, and textual analysis of television programs to examine the histories of Latina/o television narratives and creative professionals across broadcast, cable, and digital television. This emphasis—on “how television narratives and their production dynamics behind the scenes constructed Latina/os and Latinidad for US audiences”2—makes Latino TV an essential read for the growing community of scholars interested in Latinx representation and authorship, as well as scholars of television and new media. Latino TV makes a crucial intervention in theorizations of television as a cultural forum, a concept popularized by Horace Newcomb and Paul M. Hirsch.3 Rather than accept Newcomb and Hirsch’s argument, Beltrán brilliantly argues that television is “a cacophonous theater of competing story worlds and visions of the nation.”4 She outlines how the TV industry has his-
{"title":"Latino TV: A History by Mary Beltrán (review)","authors":"Crystal Camargo","doi":"10.1353/cj.2023.a904638","DOIUrl":"https://doi.org/10.1353/cj.2023.a904638","url":null,"abstract":"Mary Beltrán’s Latino TV: A History shows the slow but incremental growth of Latina/o participation and representation in US English-language television.1 While a handful of scholars have studied Latinx representation and participation on US television, Latino TV provides the fi rst-ever account of Latina/o televisual productions and authorship since the 1950s. Throughout the book’s six chapters, Beltrán combines archival research, dozens of interviews with TV professionals, and textual analysis of television programs to examine the histories of Latina/o television narratives and creative professionals across broadcast, cable, and digital television. This emphasis—on “how television narratives and their production dynamics behind the scenes constructed Latina/os and Latinidad for US audiences”2—makes Latino TV an essential read for the growing community of scholars interested in Latinx representation and authorship, as well as scholars of television and new media. Latino TV makes a crucial intervention in theorizations of television as a cultural forum, a concept popularized by Horace Newcomb and Paul M. Hirsch.3 Rather than accept Newcomb and Hirsch’s argument, Beltrán brilliantly argues that television is “a cacophonous theater of competing story worlds and visions of the nation.”4 She outlines how the TV industry has his-","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87646056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Race and the Suburbs in American Film ed. by Merrill Schleier (review)","authors":"Christine Sprengler","doi":"10.1353/cj.2023.a904643","DOIUrl":"https://doi.org/10.1353/cj.2023.a904643","url":null,"abstract":"Race and the Suburbs in American Film ,","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79225962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Broadcasting Hollywood: The Struggle over Feature Films on Early TV by Jennifer Porst (review)","authors":"Michael Z. Newman","doi":"10.1353/cj.2023.a904641","DOIUrl":"https://doi.org/10.1353/cj.2023.a904641","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76171342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article explores how 1950s television producers and corporate sponsors used situation comedies to address critiques of capitalism and US race relations through portrayals of middle-class accessibility for Mexican, Cuban, and Chinese immigrants. Emphasizing their foreignness, they portrayed these immigrants as welcome members of US society, embraced as friends by white Americans who helped them assimilate to show they faced no obstacles to class mobility due to discrimination. If immigrants struggled to join the middle class, it was because of personal shortcomings related to cultural backwardness, which emphasized the importance of assimilation.
{"title":"American Cold War Hospitality: Portraying Societal Acceptance and Class Mobility of Mexican, Cuban, and Chinese Immigrants in 1950s Sitcoms","authors":"M. Bernhardt","doi":"10.1353/cj.2023.a904625","DOIUrl":"https://doi.org/10.1353/cj.2023.a904625","url":null,"abstract":"abstract:This article explores how 1950s television producers and corporate sponsors used situation comedies to address critiques of capitalism and US race relations through portrayals of middle-class accessibility for Mexican, Cuban, and Chinese immigrants. Emphasizing their foreignness, they portrayed these immigrants as welcome members of US society, embraced as friends by white Americans who helped them assimilate to show they faced no obstacles to class mobility due to discrimination. If immigrants struggled to join the middle class, it was because of personal shortcomings related to cultural backwardness, which emphasized the importance of assimilation.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75507467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bad Archives","authors":"Paul Soulellis","doi":"10.1353/cj.2023.a904635","DOIUrl":"https://doi.org/10.1353/cj.2023.a904635","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79729419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
If you are on TikTok, chances are high that you have come across videos featuring this audio template originally created by Kelly Hurst (@thelifebath), a TikToker from Newcastle, United Kingdom.1 Hurst’s video led to a life hack sensation on TikTok during the pandemic and has inspired the creation of hundreds of thousands of life hack meme videos, which range from tips on how to eff ortlessly separate egg yolks using garlic to threading needles with a toothbrush.2 The #LifeHacks memes are just one example of the increasingly popular trend of casual and playful knowledge sharing on TikTok that proliferated during the pandemic. Lockdowns worldwide resulted in a surge in the use of social media to share learning materials, especially on TikTok. Sports and food infl uencers have used TikTok to demonstrate workouts and cooking tutorials, helping people stay fi t and fed, and #MomsOnTikTok and #DadsOfTikTok have relied on the platform to collect and share tips on how to keep kids busy during the lockdown. Science educators are also important contributors to the trend of teaching through TikTok. With the closure of schools due to COVID-19, they turned to TikTok to deliver educational
{"title":"#LearnOnTikTok Serendipitously, #LearnOnTikTok Seriously","authors":"Jing Zeng","doi":"10.1353/cj.2023.a904634","DOIUrl":"https://doi.org/10.1353/cj.2023.a904634","url":null,"abstract":"If you are on TikTok, chances are high that you have come across videos featuring this audio template originally created by Kelly Hurst (@thelifebath), a TikToker from Newcastle, United Kingdom.1 Hurst’s video led to a life hack sensation on TikTok during the pandemic and has inspired the creation of hundreds of thousands of life hack meme videos, which range from tips on how to eff ortlessly separate egg yolks using garlic to threading needles with a toothbrush.2 The #LifeHacks memes are just one example of the increasingly popular trend of casual and playful knowledge sharing on TikTok that proliferated during the pandemic. Lockdowns worldwide resulted in a surge in the use of social media to share learning materials, especially on TikTok. Sports and food infl uencers have used TikTok to demonstrate workouts and cooking tutorials, helping people stay fi t and fed, and #MomsOnTikTok and #DadsOfTikTok have relied on the platform to collect and share tips on how to keep kids busy during the lockdown. Science educators are also important contributors to the trend of teaching through TikTok. With the closure of schools due to COVID-19, they turned to TikTok to deliver educational","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80946827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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