https://padlet.com/viennanodwell/i2jkch1wlt8n7k45 30135122- Lab 2 en-us 2022-09-09 16:33:37 UTC 2022-12-09 18:51:37 UTC hello@padlet.com viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2321617958 Throughout this course, I'm most looking forward to learning about the different communication theories and being able to apply them throughout the rest of my education. I'm quite open-minded therefore, I'm intrigued by how my view of media will likely change, as well as how I can educate others (friends and family). What interests me most in the course are the readings. Being able to go over and discuss readings in small tutorial groups are what make for meaningful and memorable conversations. A topic i'm excited about is feminism and I look forward to hearing about the thoughts from the readings from my peers. ]]> 2022-09-30 21:14:07 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2321617958 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2321631127 "Bridal magazines and the portrayal of the lavish wedding across media forward the message that weddings serve as the endpoint of romantic relationships." (Engstrom, 2008, pg. 61). The main argument from Engstrom's article is that Weddings are a social practice rooted in capitalism and they are what officiates and legitimizes social relationships (marriage). Technically, there are no legal rules for weddings though the media portrays this idea of how a wedding should be carried out. "These bridal media serve as an example of hegemony" (Engstrom, 2008, pg. 61). Political economy plays an important role in the article's argument in that it supports the idea of hegemony; it sends a message to women saying that they need a big white wedding. My main take away from this reading is that the media holds an incredible amount of power to the point of manipulation. The media dictates what is the "norm" and what is expected of women especially when it comes to marriage.   

                                          References

Engstrom, E. (2008). Unraveling the knot. Journal of Communication Inquiry, 32(1), 60–82. https://doi.org/10.1177/0196859907306833 ]]> 2022-09-30 21:39:42 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2321631127 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413417633 It is difficult to choose one topic to be the "most compelling" as there were many. However, I found that learning more about transgender representation really impacted me and opened my eyes as I was not aware of just how many challenges trans people are faced with in their everyday lives; certainly challenging what I thought I knew about media culture. Watching Disclosure (2020) on Netflix was truly what made me reflect on previous movies I had seen. This made me realize both the lack of proper representation as well as the inappropriate humour that is used in media. I found this compelling as it showed just how much better we need to be doing. There is so much room for improvement which could include putting an end to the repetition of trans stereotypes (ex. the hyper masculine characteristics) and tropes. As well, including actual trans people in casts, directing/production/writing process for accurate representation.

While some of the later readings I found to be very important, Engstrom's Unraveling The Knot: Political Economy and Cultural Hegemony in Wedding Media stood out to me especially as it was one of the first readings, setting the course off to an insightful start. As a female, I've  grown up dreaming of a "perfect" wedding. More over, I've been to several weddings, experiencing the glory and over-the-top event. This reading made me rethink why this all exists in the first place; why women grow up being taught the importance of a "big white wedding". From now on I will always think back to Engstrom's article and just how rooted weddings are in the role of consumption, gender roles, and hegemonic culture.

As mentioned, I will approach media differently in the way I view movies and TV shows, as well as how I interpret weddings (and other capitalist systems). I will apply key concepts such as the "male gaze", "Orientalism", and the "Bechdel test" the next time I'm at the movies, challenging what I previously wouldn't have noticed. I will apply knowledge of "hegemony" and "female stereotypes" to future relationships whilst remembering to challenge certain  responsibilities I feel I owe due to constructs.

]]> 2022-12-07 19:46:34 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413417633 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413418620 A queer reading takes on "the proposition that basically heterocentrist texts can contain queer elements" (Doty, 1993, pg.3). For instance, the term "queer" can be used "to mark a flexible space for the expression of all aspects of non- (anti-,contra-) straight cultural production and reception." (Doty, 1993, pg.3). ""queer space"
recognizes the possibility that various and
fluctuating queer positions might be occupied whenever anyone produces or responds to culture." (Doty, 1993, pg.3) This "flexible space" as mentioned is a critical piece to all film and TV show production as it enables a larger audience to connect to media. For example, with readings of characters being more open to interpretation, more people are able to identify with said character and, therefore, the overall movie/show. A contemporary TV show example could be the newly released Netflix Original, Wednesday. A queer reading could be done on Wednesday's character which most importantly, would be useful in providing proper representation and expression to younger generations (as that is who the show mainly targets).

With this all in mind, "Queer readings aren't "alternative" readings, wishful or willful misreadings, or "reading too much into things" readings. They result from the recognition and articulation of the complex range of queerness that has been in popular culture texts and their audiences all along." (Doty, 1993, pg. 16).

                                          References

Doty, A. (1993). Making things perfectly queer : Interpreting mass culture. University of Minnesota Press.]]> 2022-12-07 19:47:28 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413418620 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413420899 Two concepts which I found to be particularly interesting were "tropes" and the "male gaze" (Harvey, 2020). In both cases, I found these terms to be fascinating as they are so normalized in media that most people are oblivious to the issues that stem from within.

First, tropes "are devices that help viewers, readers, listeners, and players to identify with characters." (Harvey, 2020, pg. 64). While these familiar tropes may seem harmless, "some gendered tropes are quite dominant." (Harvey, 2020, pg. 64), making them hold significant power as they often dictate the way we perceive women. "From a feminist media studies perspective, it is important to consider the enduring power of gendered tropes and how those related to women are primarily focused on sexual
availability, care giving, and other relationships with men or children." (Harvey, 2020, pg. 64). Tropes oftentimes reinforce stereotypes "By linking women primarily to domestic activities, the family, and private matters, rather than to positions of power and authority, the media socialize a view of women as dependent, inferior, and subordinate." (Harvey, 2020, pg. 65). Common examples of female characters in predominance of roles may include that of "housewives, mothers, and romantic partners." (Harvey, 2020, pg. 65).

Second, the male gaze "refers to the ways in which women in film are structured as objects to be seen and looked at rather than as active subjects. In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female* (1999: 837), with the woman as the image to be gazed upon and the man
as active subject who engages in the act of looking." (Harvey, 2020, pg. 68). Therefore, oftentimes in media, women are presented solely with the accompaniment of a man "to objectify women, making them the object of the gaze, a consumable, sexualized being existing only to be looked at." (Harvey, 2020, pg. 69). Further, they're used as figures to elicit pleasure in both the male characters within the media and also the viewers of said media. "These societal norms structure what is pleasurable in what we see, and Hollywood as a successful media industry is premised on constructing visually gratifying experiences based on an understanding of patriarchal sexual desire." (Harvey, 2020, pg. 69).

By understanding and being overall aware of these terms, the two can be put to use when consuming media, especially TV shows and movies from this point onward. For instance, it is critical to understand the way directors and writers are depicting women in film and, moreover, being able to recognize familiar tropes and/or the male gaze when either arises.

                                            References

Alison Harvey. (2020). Representing Gender. In Harvey, Feminist media studies (pp. 58–83). Polity Press.]]> 2022-12-07 19:49:17 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413420899 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413421693 The key to this quote by Hay & Ouellette is that subjects believe they're governing "themselves through freedom, not control...” (Ouellette & Hay 2008, pg. 472). While it may appear that power is being positioned in the hands of each consumer/viewer, in reality, it is still the reality TV shows that are still authoritative as the governing has become internal (self-governing). Governmentality refers to the way people act (or the way they believe they should act). In essence, they are planting the seed into viewers heads which is then used "to evaluate and guide the behaviours and routines of ordinary people, and, more importantly, to teach us how to perform these techniques on ourselves." (Ouellette & Hay 2008, pg. 472).

"Within this context, cultural technologies such as television, which have always played an important role in the formation of idealized citizen subjects, become instrumental as resources of self-achievement in different and politically significant ways." (Ouellette & Hay 2008, pg. 472). One example outside of reality TV is with the Vogue Get Ready With Me series on YouTube. This series includes featured celebrity guests who talk in front of the camera whist "getting ready" (doing their skin-care routine). Watching these "lifestyle tutorials" (Ouellette & Hay 2008, pg. 472) may seem harmless but in actuality, they are subliminally making consumers act (self-govern) in this participatory game by generating this need to purchase the same products and do all the same 20 skin-care steps as A-list celebrities.

"In this sense, reality television is being inserted into the reinvention of government in complex, everyday, constitutive ways." (Ouellette & Hay 2008, pg. 472). Everyday life can more often than not be referring to that of social media. Social media especially fits into the category of interactivity and participation with consumers. A specific example of governmentality is with Instagram and the unspoken rules and behaviour users have adopted over the years. While it is not explicit by the franchise, self-governing has taught users what is considered "oversharing", to get the most likes, likely to "go viral", etc.

                                            References

Ouellette, L., & Hay, J. (2008). Makeover television, Governmentality and the good citizen. Continuum, 22(4), 471–484. https://doi.org/10.1080/10304310801982930 ]]> 2022-12-07 19:50:01 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413421693 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413422637 I first came across this photo in the summer (2022) when scrolling on Instagram. This week I was looking back at Chamberlain's account and rediscovered this image as it stands out more than anything else. With the bright pink colour and large headline, I was drawn in.

The denotative reading/ primary signification includes large text in all pink ("VOGUE Australia") alongside other text in white at the bottom and smaller text on the lefthand side. There appears to be a young white female with blonde hair and pink clothing standing in the centre.

The image can be broken down into the is signifier, signified and sign which then ultimately can help understand the connotative readings. The signifier is this image of a girl on the cover of Vogue Magazine, what is being signified is that is she is a well-known, fashion-orientated celebrity. This conclusion is gathered from the fact that she is featured in Vogue alongside the high quality photo, accompanied text, and fashion forward outfit. The sign is this Instagram post which was used to communicate to followers her status and connection with Vogue Magazine.

                                            References

Chamberlain, E. (2022). Screenshot of Emma Chamberlain Vogue Magazine. Instagram. Retrieved 2022, from https://www.instagram.com/p/ChZ6QvWotHG/?igshid=YmMyMTA2M2Y= https://www.instagram.com/p/ChZ6QvWotHG/?igshid=YmMyMTA2M2Y=. 

]]> 2022-12-07 19:50:51 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413422637 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413423826 Cultural studies revolves heavily around the encoding and decoding of messages. While there is a connection between the two it is important to note that "decodings do not follow inevitably from encodings, that they are not identical, reinforces the argument of ‘no necessary correspondence’ [between the encoded message(s) and decoded meaning(s)]. It also helps to deconstruct the commonsense meaning of ‘misunderstanding’ in terms of a theory of ‘systematically distorted communication’.” (Mills & Barlow, 2015, pg. 252) especially when analyzing the behaviour of fans in Kelly's 2020 article. In this particular instance, K-pop fans were "getting creative in their approach to fighting police brutality and digital surveillance" (para. 1) in which they "flooded the app with fancams" (para. 2) as a response. This ultimately expresses the phenomenon highlighted by Mills & Barlow of "systematically distorted communication" (Mills & Barlow, 2015, pg. 250) in which "viewers are not operating within the ‘dominant’ or ‘preferred’ code" (Mills & Barlow, 2015, pg. 250). The Dallas Police had created an app which was initially intended to be used for reporting crimes but in return, they were given a completely unexpected response.

Another example of fan activism was with the Harry Potter Alliance. "Established in 2005, the Harry Potter Alliance had more than 100,000 members at its peak." (Madden, 2020, para. 8).  Much like the K-pop fans, the Harry Potter Alliance used their large fan base to advocate political change, "primarily around human rights issues" (Madden, 2020, para. 8) "such as Fair Trade and Fair Wages, through analogies to Rowling’s fantasy world" (Jenkins in Madden, 2020, para. 8). For example, "in 2010, they raised over $123,000 for relief efforts following the Haiti earthquake" (Madden, 2020, para. 8).

                                            References

Kelly, E. (2020, June 1). K-pop fans broke #whitelivesmatter to promote racial justice. Bitch Media. Retrieved December 8, 2022, from https://www.bitchmedia.org/article/k-pop-fandom-political-force

Madden, E. (2020, June 11). The BTS Army and the transformative power of fandom as activism. The Ringer. Retrieved December 9, 2022, from https://www.theringer.com/music/2020/6/11/21287283/bts-army-black-lives-matter-fandom-activism

Mills & Barlow. (2015). Reading media theory. Thinkers, Approaches and Contexts. https://doi.org/10.4324/9781315832975 ]]> 2022-12-07 19:51:52 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413423826 viennanodwell https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413426102 "Within com­modity culture, ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream white culture." (Hooks, 2014, pg. 21). Bell Hooks unravels the deep rooted issue of consuming another's' culture in an inappropriate, self-benefitting, ignorant manner which she denotes as "eating the Other". In this instance, the "Other" refers to that of non white/ non western people. "Unconscious fantasies and longings about contact with the Other embedded in the secret (not so secret) deep structure of white supremacy." (Hooks, 2014, pg. 21-22). In essence, "eating the Other" refers to the West's fascination with other cultures though this fascination is oftentimes taken to the extreme of appropriation due to white supremacist norms.

Often this can take the form of commodification "When race and ethnicity be­come commodified as resources for pleasure,  the culture of specific groups, as well as the bodies of individuals, can be seen as constituting an alternative playground where members of dominating races, gen­ders, sexual practices affirm their power-over in intimate relations with the Other." (Hooks, 2014, pg. 23). Specifically, the fashion industry is notorious for selling products heightened by the exploitation of Otherness. (Hooks, 2014, pg. 28). And, various advertising strategies in the industry include that of purposefully using racially diverse images to epitomize trends (Hooks, 2014, pg. 28).

"Similar critique can be  made  of  contemporary  trends  in  inter-racial  sexual  desire  and contact initiated by white males." (Hooks, 2014, pg. 24). Equally, if not more concerning, is when "eating the Other" involves that of sexual relations. One quote I found to be particularly powerful was that "They claim the body of the colored Other instrumentally, as unexplored terrain, a symbolic frontier that will be fertile ground for their reconstruction of the masculine norm, for asserting themselves as transgressive desiring subjects" (Hooks, 2014, pg. 24). This quote stood out to me because of how much it diminishes actual human beings to just "terrain" to be conquered. Not only that, but, is also expresses how far egocentric intentions can control peoples' behaviour. This quote made me reflect on my own life and the people I know who claim they do not see themselves as perpetuating racists (Hooks, 2014, pg. 24) while fetishizing "others".

                                          References

Hooks, B. (2014). Black looks. Race and Representation. https://doi.org/10.4324/9781315743226 ]]> 2022-12-07 19:53:52 UTC https://padlet.com/viennanodwell/i2jkch1wlt8n7k45/wish/2413426102