Cultural Journalism and Cultural Critique in a changing Media Landscape

This special issue addresses a topic of journalism studies that has previously been somewhat neglected but which has gained increasing scholarly attention since the mid-2000s: the coverage and evaluation of art and culture, or what we term “cultural journalism and cultural critique.” In this introduction, we highlight three issues that serve to frame the study of cultural journalism and cultural critique more generally and the eight articles of this special issue more specifically: (1) the constant challenge of demarcating cultural journalism and cultural critique, including the interrelations of “journalism” and “critique”; (2) the dialectic of globalisation’s cultural homogenisation, on the one hand, and the specificity of local/national cultures, on the other; and (3) the digital media landscape seen in terms of the need to rethink, perhaps even redefine cultural journalism and cultural critique.     

Reconciling Hall with discourse,written in the shadows of ‘“Confederate” and Rainbow Flags

ABSTRACT

This essay addresses Stuart Hall and discourse theory, focusing on his essay “Signification, representation, ideology.” Reflecting upon recent events involving representation and identity—US legalization of gay marriage, murders at a gay nightclub, removal of the “Rebel Flag” from the South Carolina state capitol, Donald Trump’s presidential campaign—I attempt to destabilize the counterproductive dualism of material/discourse in Hall’s critique of poststructural discourse theory. Finding amenability between Hall and Foucaultian discourse theory, I describe Hall’s utility for discourse scholars, such as his perspectives on ideological practices and generation of new discourses as an interventionist act.     

The Office was asking for it: “that’s what she said” as a joke cycle that perpetuates rape culture

In this essay, we argue that the popular joke, “that’s what she said” is a symbolic representation of rape that contributes to and insulates rape culture. Drawing on Joseph Boskin’s notion of the “joke cycle” and extant literature on rape culture and misogynistic humor, we critique several instances of the joke on the popular television series The Office. From there, we extend our critique of the joke cycle, noting the conspicuous absence of concern over the joke and its implications in other scholarly treatments of the program. Our primary contention is that the joke cycle, which may be the most prominent cycle in recent decades, reinscribes rape culture by normalizing discourses that dismiss and silence rape victims, justify violence against women, and even blame victims for having been assaulted. “That’s what she said” avoids the critical eye because it disguises itself as a joke like any other.     

“Once an Eagle,always an Eagle?”: symbolic divestment,recuperative critique,and in-house protests against the anti-gay BSA

A group of Eagle Scouts protested the Boy Scouts of America’s (BSA) anti-gay, lesbian, bi-sexual, and queer policies and heteronormative citizenship ideals by forfeiting their badges, divesting their membership, and writing personal, emotionally charged letters addressed to the BSA to critique the institution from within. Engaging the correspondence illuminates the repertoires of critique and dissent they employ in their in-house protests. To these ends, this essay makes four primary contributions: it (re)calls attention to the correspondence archive as a fruitful site to investigate political speech acts and forms of dissent; it provides an understanding of the politics of emotions in protest and social change efforts, thus contributing to resonant dialogues in social movement studies; it codifies the Eagle Scouts’ particular tactics employed in their in-house protests, captured in the terms “symbolic divestment” and “recuperative critique”; and it offers a case study that details the rhetorical mechanisms of intrainstitutional change.     

“Not like that,not for that,not by them”: social media affordances of critique

This paper has two objectives: to explicate the sociotechnical conditions that facilitate critique on social media platforms (specifically: Tumblr); and to operationalize a “working theory” from Foucault’s conceptualization of critique. We analyze resistant practices observed (in ethnographic study) in a Not Safe For Work (NSFW) community on Tumblr, arguing that the potential for critique arises there at the intersection of platform architecture and use cultures. Specifically, we show how critique emerges from shared practices of ethics, most visibly enacted through what we call voluntary vulnerability and paying it forward. This potential for critique is arguably at risk with Tumblr’s recent NSFW ban.     

Among the Sensuous: Listening to Film,Listening to the Philippines

In this paper, I argue that listening to a film is as significant as watching it; in spite of what seems like a formalist argument, I examine in what ways such an approach intervenes in the production of knowledge around Philippine history and Filipina/o bodies. In Kidlat Tahimik's film, Mababangong Bangungot, an overprivileging of the visual aids and abets the film's masculinist nationalism, despite the best efforts of critics to find a “third term.” That third term just might come from listening to the film, which delivers its own kind of postcolonial and feminist critique, one which impacts how we think about contemporary communication and cultural studies.     

“Nobody Really Wants to be Called Bossy or Domineering”

This article examines talks given by 12 female media professionals at a Southern US university’s center on women in communication between 2013 and 2015 to identify the influence of hegemonic masculinity in industry speak about women and professionalism in the fields of journalism, advertising, and public relations. This paper applies a feminist critique of discussions about “work–life balance,” “leaning in,” “emotion,” and language about the role of technology and innovation in women’s careers, to argue that inherent in these discussions about media professionalism are traits that perpetuate binary notions of feminine–masculine traits of the workplace. As a whole, these messages fail to account for notions of intersectionality and perpetuate inequality and masculine power for future professionals.     

An other‐burkean frame: Rhetorical criticism and the call of the other

This essay extends the work of Murray (1998), which used the philosophy of ethics of Emmanuel Levinas to critique the rhetorical theory and critical methods of Kenneth Burke. This essay evaluates that critique by analyzing Nazi propaganda and Senator Edward Kennedy's “Chappiquiddick” speech through the critical lens of a revised Burkean frame. These analyses demonstrate that an Other‐Burkean frame can supplement existing resources for rhetorical criticism and contribute to a richer understanding of human communication.     

“New Conformism Redux”

To assess future priorities for cultural studies, this essay returns to the later writings of Raymond Williams, in particular his concerns about “new conformism.” It is argued that today we face comparable analytical challenges in which the pressures of institutionalization, and a strain of ahistoricism, have produced a “weak materialism” in contemporary cultural critique. The essay recommends a flexible and context-driven navigation of the current dominant tendencies toward micro-recuperative and macro-epistemological analysis, and proposes that this flexibility is the preferred mode of assuring that the dynamism of culture is captured by our critical methods.     

“Are We There Yet?”: Searching for Springfield and The Simpsons’ Rhetoric of Omnitopia

The Simpsons’ visual and textual depiction of Springfield as a typical American city provides an insightful critique of the modern project. We demonstrate how America's longest running sitcom depicts urban life as a mutable environment whose disparate locales convey their inhabitants to a ubiquitous, ever-present continuum that we term “omnitopia.” In depicting Springfield as omnitopia, the show offers a cartoon version of public life marked by dislocation, conflation, fragmentation, mutability, mobility, and commodification. The study of these components provides a means to interpret and critique the increasing decline of locales in the urban environment.     

Boys Don't Cry and female masculinity: reclaiming a life & dismantling the politics of normative heterosexuality

–This analysis argues that Kimberly Peirce's film Boys Don't Cry can be read as a liberatory narrative that queers the centers of heteronormativity and hegemonic masculinity by privileging female masculinity and celebrating its differences from heterosexual norms. My critique emphasizes how the narrative strategically challenges heteronormativity and, in turn, “narrative's heteroideology” (Roof, 1996), in four ways: 1) by dismantling the myth of “America's heartland”; 2) by problematizing heteromasculinity; 3) by centering female masculinity; and 4) by blurring the boundaries of female masculinity. I argue that the articulation of each subversive strategy within the narratives of Boys Don't Cry can serve a liberatory function, whereby the privileged subjectivities of heterosexuality and hegemonic masculinity are dismantled and, simultaneously, female masculinity and gender fluidity are privileged and normalized. I conclude that the narrative structure of Boys Don't Cry not only privileges gender diversity, but also exposes the inherent sexual bigotry of heteroideology and the brutal and deadly consequences of society's failure to eradicate such prejudice. I just keep on laughing Hiding the tears in my eyes Because boys don't cry. Boys don't cry. (Smith, Tolhurst, & Dempsey, 1988)     

Rebels of the underground: Media,orality, and the routes of black emancipation

Studies of race in communication studies often critique and/or celebrate representations of people of color, but recently scholars have called for studies to “go beyond” representation. Building off the work of Sarah Sharma, Harold Innis, Marshall McLuhan, and Walter Ong, this article considers how forms of media, rather than solely content, have racial implications that exceed their representational capabilities. Through an analysis of slave narratives, this article argues that the Underground Railroad was a “media environment” that assisted slave emancipation. This environment celebrated oral forms of mediation and the bodies of certain black runaway slaves to mediate the lines between freedom and bondage.     

媒介的“下沉”与奠基——媒介化社会的政治经济学批判

在媒介化社会逐渐成为现实的今天,媒介化理论的重要性日益突显。夏瓦将媒介化视为基于媒介制度的社会结构化转型,库尔德利则将媒介化视为媒介成为人类社会"元资本"的实践化进程,但他们的理论或是面临着坠入结构功能主义窠臼的风险,或是面临着"意识形态批判"的指责。在媒介已经下沉为一种经济基础的今天,只有对"媒介化社会"进行政治经济学批判,才能更好地理解媒介化力量对人类社会生活的奠基与形塑。     

“It’s about respect!” college-athlete activism and left neoliberalism

This essay offers a critique of left neoliberalism with reference to certain tendencies in cultural studies, antiracist politics, disparity discourse, and college sports. Where the dominant tendency in cultural studies has been to produce complex analyses of identity-based oppression, this article insists on a conception of class politics that, on the one hand, calls for more attention to exploitation and, on the other, de-emphasizes the “working-class identity” model. By examining two recent episodes of athlete activism in college sports—namely, the much-admired “strike against racism” at the University of Missouri in 2015 and the widely condemned (and ultimately unsuccessful) effort by Northwestern University football players to form a union in 2014—the article contends that the commitment to eliminating racism and indifference to ending exploitation in these contexts reflects the broader commitments of a “left-wing” neoliberalism that devotes itself to ending inequality without redistributing wealth.     

Notes toward a rhetoric of animation: The Road Runner as cultural critique

–Recent studies have suggested the need to broaden our approaches to violence in children's programming. This paper uses the violence of “The Road Runner” cartoon series as a starting point for a mythico-rhetorical analysis of the message system contained in the cartoon. It explores how the animated short re-enacts the myth of Sisyphus in the context of the post-World War II technological boom in the United States. Technology is the source of most of the violence in the cartoon, and the violence is created by failures of technology. The use of a “children's” medium to critique our reliance on technology offers substantial freedom to the animator, and, in turn, to the viewer and the critic. Examination of “The Road Runner” yields insights into the meanings of cartoon violence, into how media reproduce mythic structures, and into the potentially rich message systems of children's media.     

“Trust Me,I’m a Sub-editor”

In this paper, I focus on one particular player in the newspaper production process, i.e. the sub-editor. I analysed the sub-editing process through participant observation in newsrooms in the United Kingdom, Belgium and the Netherlands. Looking at both the sub-editors at work (think-aloud protocol) as well as the articles in various stages of production, and informed by (retrospective) interviews, I have compiled a list of six of the sub-editor’s “production values”. These values guide sub-editors whenever they intervene, and help them to transform a news story into an appealing, correct and credible newspaper article. I took the lead from Östgaard’s “factors influencing the flow of news”, but also from Galtung and Ruge’s “news values” which help reporters to determine which “events” are transitioned into “news”. In doing so, I go beyond the limitations of previous research, in which the types of interventions carried out in the sub-editing stage of newswriting were categorised. By identifying the guidelines driving the alterations made by the sub-editor, I aim to move one step closer towards uncovering the intricacies of the sub-editing process. Moreover, I demonstrate how “the rewrite men” add journalistic value to their newspapers, as perhaps their brand’s strongest ambassadors.     

I Have Seen the Future and It Is Not Here Yet …; or,On Being Ambitious for Audience Research

Audience research, after a promising period during which some crucial advances were made, seems to be in decline in several ways, yet its tasks remain as important as ever. This article, originally a presentation at the 2003 Versailles Conference on the Future of Audience Research, makes the case for expanding our vision of the field’s possibilities. To do this, it revisits some of the forgotten achievements of the Uses and Gratifications tradition, offers a critique of the dominant “Hall model” for conceiving media/audience relations, and outlines the key concept of an alternative approach: the concept of a “viewing strategy,” which has been at the heart of the 2003–2004 international project on the reception of The Lord of the Rings.     

“Am I a good [white] mother?” Mad men,bad mothers,and post(racial)feminism

In this article we locate, interpret, and critique the figure of the “bad” white mother, focusing on the critically acclaimed AMC drama, Mad Men. Advancing feminist and postcolonial approaches to myth, we uncover a prevailing “white consciousness” that relies on racializing logics in, first of all, Mad Men’s representations of (white) motherhood through the character of Betty Draper, and second, public discussions of the show in academic and media outlets. Drawing on Black feminist thought, we propose that these discourses rely on and feed underlying assumptions that support post(racial)feminism—an ideological location that allows for the explicit embracement of “bad” mothering as a progressive, even transgressive act that, at the same time, implicitly relies on expectations for (good) mothering shaped by white privilege. This cross-pollination between postfeminism and whiteness, we argue, is especially important to engage, since it carries potentially limiting implications for our collective imagination about what anti-racist and feminist struggles should entail.     

Stanton's “Solitude of Self” as Public Confession

Elizabeth Cady Stanton opened her now famous “Solitude of Self” by asserting her desire to make manifest the “individuality of each human soul.” Using Stanton's attempt to display the human soul as a case study, I consider in this essay the capacities of language to disclose the self. I argue that, for Stanton, self-disclosure is fundamentally performative: The “Solitude of Self” evokes the “inner-being we call ourself” through a reliance on, and a subsequent violation of, a distinctively narrative logic. As this violation takes from the audience the sense of order that the narrative had theretofore provided, it puts the audience in a position where they, now shorn of narrative and the order it provided, can experience firsthand the solitude of self.     

Bookstores - Los Angeles

“Larry Edmunds Cinema and Theater Bookshop”, Inc. 6658 Hollywood Blvd., Hollywood, Calif. 90028: This bookstore was mentioned earlier in BBB under cinema [I:6:5 and II:4:6]

“Acres of Books”, 240 Long Beach Blvd., Long Beach, Calif. 90802: Dr. Kittross described this bookstore in an early issue of BBB [I:4:3]

“The Book Shelf”, 1217 South Hawthorne Blvd., Hawthorne, Calif. 90250.

“Gene de Chene Bookseller”, 11552 Santa Monica Blvd., Los Angeles, Calif. 90025.

“Dawson's Book Shop”: 533 North Larchmont, Los Angeles, Calif. 90004.

“Cosmopolitan Book Shop”: 7007 Melrose Ave., Los Angeles, Calif. 90038.

“West Los Angeles Bookstore”, 1670 Sawtelle Blvd., Los Angeles, Calif. 90025.

“Wilshire Books”, 3018 Wilshire Blvd., Santa Monica, Calif. 90406.