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Latinas in the city: a discussion of how young Mexican women identify and engage with Sex and the CityCantu, Elizabeth Angelica 15 May 2009 (has links)
Globalization trends and treaties, such as the North American Free Trade Agreement (NAFTA), have increased the access and flow of United States media and popular culture products in Mexico. Limited research has been done examining the exposure of Mexican audiences to U.S. media products and the possibility of mass media’s impact on Mexican cultural identity. This qualitative study examines how twenty college-educated Mexican women identify and engage with the transnational popular culture text of Sex and the City (SATC). A multi-disciplinary theoretical approach, mainly from cultural studies and media studies, provides the backbone for my study of a foreign audience’s identification and engagement with a U.S. popular culture text. Thematic categorization of my interview data showed that genre, gender, class and location all played a role in the media engagement process. SATC enabled these twenty women to examine their lived experiences in Mexican society and be exposed to alternative viewpoints. The women interviewed were active audience members that discussed their experiences as college-educated, career driven women associated with modernity but living in the traditional, patriarchal society of Mexico. The women interviewed preferred watching television from other countries, such as the U.S., because it resonated with their lived experiences more than the telenovelas, which are the most common form of television programming in Latin America. In terms of discussing the representation of women on SATC, women talked about the gender roles, myths and structural forces of Mexican society to engage in resistive pleasure and to talk about gender politics. For these Mexican women, discussing SATC allowed them to express concerns over the representation of women in telenovelas, the importance of having alternative viewpoints available to women, and the experiences that have allowed them to foster spaces for change based on SATC’s content and characters. While factors, such as education, socioeconomics and geographic location framed the respondent comments, SATC was a source of strategic knowledge and cultural capital for women to open up new discussions with friends and family, new ways of looking and living out their sexuality, and ideas of the female body.
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Latinas in the city: a discussion of how young Mexican women identify and engage with Sex and the CityCantu, Elizabeth Angelica 15 May 2009 (has links)
Globalization trends and treaties, such as the North American Free Trade Agreement (NAFTA), have increased the access and flow of United States media and popular culture products in Mexico. Limited research has been done examining the exposure of Mexican audiences to U.S. media products and the possibility of mass media’s impact on Mexican cultural identity. This qualitative study examines how twenty college-educated Mexican women identify and engage with the transnational popular culture text of Sex and the City (SATC). A multi-disciplinary theoretical approach, mainly from cultural studies and media studies, provides the backbone for my study of a foreign audience’s identification and engagement with a U.S. popular culture text. Thematic categorization of my interview data showed that genre, gender, class and location all played a role in the media engagement process. SATC enabled these twenty women to examine their lived experiences in Mexican society and be exposed to alternative viewpoints. The women interviewed were active audience members that discussed their experiences as college-educated, career driven women associated with modernity but living in the traditional, patriarchal society of Mexico. The women interviewed preferred watching television from other countries, such as the U.S., because it resonated with their lived experiences more than the telenovelas, which are the most common form of television programming in Latin America. In terms of discussing the representation of women on SATC, women talked about the gender roles, myths and structural forces of Mexican society to engage in resistive pleasure and to talk about gender politics. For these Mexican women, discussing SATC allowed them to express concerns over the representation of women in telenovelas, the importance of having alternative viewpoints available to women, and the experiences that have allowed them to foster spaces for change based on SATC’s content and characters. While factors, such as education, socioeconomics and geographic location framed the respondent comments, SATC was a source of strategic knowledge and cultural capital for women to open up new discussions with friends and family, new ways of looking and living out their sexuality, and ideas of the female body.
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The youth respondent method : an exploration of reception studies with youth in New Work development for Theatre for Young Audiences / Exploration of reception studies with youth in New Work development for Theatre for Young AudiencesLeahey, Kristin Ann 19 July 2012 (has links)
I define the youth respondent method as a process by which artists and/or producers involve children and/or young adults through planned theatre activities or discussions with the objective of answering specific questions about the development of the work and collect feedback to improve the text or further the production. This pluralistic practice grants agency for the target audience, while informing the creators of the possibilities of the play and answering challenging questions regarding the work. Considering a continuum that places creative dramatics and children’s theatre at its poles, the youth respondent method demonstrates a merger of the two genres affiliated with youth, theatre, and play. My dissertation documents the youth respondent method’s application in a number of mid-twentieth century and contemporary case studies from the U.S., all of which received national attention through festivals and professional productions at regional theatres throughout the country. These case studies include: Playwright Charlotte Chorpenning’s work with the Goodman Theatre (1940s), Deni Kruger’s play MUDDY BOOTS (2005), Jason Tremblay’s play KATRINA: THE GIRL WHO WANTED HER NAME BACK (2009), Lydia Diamond’s play HARRIET JACOBS (2008), and Duncan Sheik and Stephen Sater’s musical SPRING AWAKENING (2006). This diverse group of plays and musicals relied on variations of the youth respondent method at different stages of their development and production processes, in which youth took the reins to serve as collaborative creators. The child is another essential collaborator in determining how their generation can make a better future through the practice and art of theatre. I examine the dialectics between artists, scholars, producers, and children, applying the youth respondent method. This model strengthens Theatre for Young Audience (TYA) plays while it gives children the agency to learn, exchange ideas, and address subjects that are important to them. TYA is a continually expanding field, although there is a significant lack of scholarship documenting its growth and such important practices as this method. By documenting various forms of the best of this practice, I hope to educate other scholars and practitioners about its vitality. / text
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The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory.Perrott, Lisa January 2007 (has links)
The 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative. Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation. While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series. The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action. These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series.
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#SharingIsCaring : An Exploratory Study of Content of Tweets, Situation of Tweeting and Motivations to Use Twitter while Watching Television SeriesSkibbe, Linda Isabelle January 2013 (has links)
The internet and social media have had a significant impact on recipients’ media consumption. As the converging media environment recipients face today offers not only more media products but also new practices of using certain media products, this study focuses on how the social micro-blogging service Twitter impacts the watching of television series. The presented study aims at explaining a new form of media reception by employing a multi-method approach. A content analysis case study of tweets about the US-American series “Homeland” and the German series “Tatort” will give insight into the Twitter content on two different series. Further, qualitative semi-standardized interviews and a survey will shed light on the situational aspects and motivational factors to use Twitter while watching television series. The uses and gratification theory is used as a backdrop to study the motivations to use Twitter while watching television series. The results of the content analysis on the two series indicate that there is a strong focus on the series itself within the tweets. Nevertheless, both series provide somewhat differing Twitter content. While tweets on “Tatort” are more critical and realistic towards the series, tweets about “Homeland” are more likely to be referential. The situation of tweeting while watching television series seems to be characterized by the usage of a second screen. The major motivational factors identified in this study are socializing at a distance and exchanging social information. All in all this study presents a fascinating new form of media reception and furthermore offers description and explanation of its application. Additionally it provides suggestions as to how to approach such a fast-changing, new media environment.
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Sea Change: Japan's New Wave of Female Film DirectorsLaird, Colleen 11 July 2013 (has links)
Since the mid-2000s, there has been a significant increase in female directors in Japan. Organized around the central feature of this emerging wave, this dissertation is a multifaceted project that combines historical research with reception studies, industry studies, gender studies, and formal analysis of films and marketing paratexts. In exploring the connections between film production, reception, exhibition, and auteur personas, I argue that the recent emergence of women into commercial cinema is fueled by gendered marketing tactics that seek to target contemporary female consumers. This focused gendering of auteur, product, exhibition space, and presumed spectator is changing the landscape of cinema in Japan, a process some refer to as "feminization." My dissertation rethinks the history of Japanese cinema with regards to the relationship between filmmakers as gendered bodies, distribution companies and marketing as patriarchal power structures, and the capital wielding demographic of female spectators as influential, but often neglected, consumers. / 2015-07-11
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Encounters with Samulnori: The Cultural Politics of South Korea's Dynamic Percussion GenreLee, Katherine In-Young 30 June 2016 (has links)
This dissertation interrogates how diverse actors ascribe semantic, affective, and political meanings to instrumental music under changing historical circumstances and in different performance contexts. In what I call an “ethnographic reception study,” I employ historical and ethnographic methods to assess the ways in which the popular samulnori percussion genre from South Korea has been imbued with associations as divergent as a sonic symbol of Korea to narratives of resistance against the state. Through five chapters, I track some of the contested and multiple meanings as they interact, both in historical moments in South Korea and vis-à-vis transnational circulations that led to the genre’s transmission outside Korea. As a genre of percussion music that was first created in South Korea in 1978, samulnori has had a complex reception during three dramatic decades in modern Korean history—leading to life-changing encounters from its fans while also eliciting scorn from its detractors. As a dynamic musical genre that is now notated and largely nonverbal, samulnori has served as a user-friendly sonic canvas upon which identities and affinities have been easily grafted by non-Korean fans, leading to the development of amateur samulnori ensembles and musical communities around the world. By considering the ways in which the samulnori genre has been evaluated, interpreted, and practiced by different actors, I show how the genre’s complex reception exhibits a relational and imbricated set of meanings over time. Last, by considering the cultural politics of samulnori from diachronic and synchronic perspectives, I offer a working methodology for contemporary studies of music reception. / Music
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FÖRRÄDARNA BLAND OSS : EN KVALITATIV STUDIE AV PUBLIKENS UPPFATTNING OM ETIK OCH MORAL I PROGRAMMET FÖRRÄDARNASmedberg, Isa, Cederroth Wallin, Tilde January 2023 (has links)
The purpose of this essay is to investigate whether the audience's views on ethics and moralitytend to change after watching the TV program "Förrädarna" (The Traitors). By analyzing and exploring this program, we aim to understand how viewers perceive the content. The essay examines how this entertainment program might possibly influence an individual's perception of ethical and moral issues, using qualitative methods. By employing the qualitative method off focus groups, this study explores how the audience experiences the program and how their ethics and morals have changed. The participants in the focus groups were selected from students aged 20-25. The results subsequently showed that despite the actions of the celebrities in the program, the audience's fundamental ethical and moral values did not change. The focus group discussions reveal that the audience was contradictory in their opinions about which actions were ethical and moral. They believed it is morally right to follow the rules of the game, which may involve lying, but still perceived the celebrities actions as immoral when they lied, creating a contradictory statement.
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Evading Greek models : Three studies on Roman visual cultureHabetzeder, Julia January 2012 (has links)
For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture. The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 3: Accepted.</p>
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The politics of film adaptation : a case study of Alfonso Cuarón's Children of menNelson, Patricia Elise 26 October 2010 (has links)
This thesis investigates the political and social contexts of the adaptation of the 1992 novel The Children of Men, written by prolific British mystery writer P.D. James, to a 2006 US film of the same title, directed by Alfonso Cuarón. Both novel and film share the same premise, imagining a future world where human reproduction is no longer possible; however, each deals with drastically different ideological and political concerns. As a case study of the politics of adaptation, this project considers adaptation as both a product and a process, analyzing representation, medium specificity, genre and political contexts as well as issues of production and reception. / text
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