COMS 371 Reflection Journal by Max Richards https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7 Weekly Journaling for COMS 371: Critical Media Studies en-us 2022-09-07 22:55:45 UTC 2025-11-15 07:35:37 UTC hello@padlet.com https://padlet.net/icons/png/1f392.png Week 1: What do you want to learn in this course? Why is this course interesting to you? What topic(s) are you most excited about? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2287228913 I originally signed up for Critical Media Studies for the simple reason that it was a prerequisite; yet, after the first lecture it has already started greatly interesting me. To me, the class's focus on the topics of representation are important ideas that everyone should know - especially in this day and age where interpreting and creating meaning has never been so controversial.  I'm specifically interested in furthering my knowledge in the concepts of semiotics and structuralism, as those two stuck out in the past two years of studying communications. However, I'm most excited and eager to learn about Marxism, as I know little about it but recently found an interest in it. How this theory focusing on the social status in society became synonymous in the West with evil and communism has fascinated me into wanting to understand how its meaning can be interpreted differently - perfectly tying in with Critical Media Studies! ]]> 2022-09-07 23:29:09 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2287228913 Week 2: What is Engstrom’s main argument? Why is political economy an important approach for her research? What was your main “take-away” from this article? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2301208677 The recurring argument throughout Engstrom’s article Unraveling the Knot is how “…bridal media serves as an example of hegemony” (Engstrom, 2008, p.61). Engstrom goes further into detail regarding this topic, examining how the Knot magazine as well as its partner television show Real Weddings from The Knot act as “…purveyors of hegemonic ideals, attitudes, and concepts” within the bridal industry (Engstrom, 2008, p.62). The Knot’s messages offered in their bridal magazines along with the portrayal of luxurious weddings across their media convey the idea of the ‘ideal’ wedding. Expensive wedding materials and customs go unquestioned because they are so heavily featured in their media – and when couples actively try to save money on their wedding by doing certain elements themselves, it is presented as “shabby” (Engstrom, 2008, p.74). All of this results in the reinforcement of what Engstrom calls the “big, white, wedding ideal”, characterized by its luxurious and lavish nature – the ‘traditional’ and unquestioned custom (Engstrom, 2008, p.74). 
 
The political economy of the bridal industry and media they produce is intertwined with capitalism. On its most basic level, bridal media helps sell wedding products by acting as a “conduit of merchandising” (Engstrom, 2008, p.62). It serves as a channel for hegemony regarding the marketing of wedding products and etiquette, conveying the message that women must spend a certain amount of money to adhere to the current standards (Engstrom, 2008, p.65). However, capitalist values are even more deeply imbedded in these practices. If most of America is middle class, having an outlandish and spectacular wedding allows the family to ‘move’ up a class for a day, resulting in the escape of middle-class monotony (Engstrom, 2008, p.74). This concept is similar to the idea that vacation is merely a way to re-energize and brainwash the worker into accepting the life they have, resulting in an interesting comparison that I found to be the most fascinating and memorable aspect of this article.

References:
Engstrom, E. (2008). Unraveling The Knot: Political Economy and Cultural Hegemony in Wedding Media. The Journal of Communication Inquiry, 32(1), 60-82. 
]]> 2022-09-17 20:43:31 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2301208677 Week 3: What is the main argument that Ross makes in this article? Ross writes, “Of the clouds and shadows that hung over Clinton in the press, the darkest, perhaps, was the prospect of boredom.” What does he mean by this? How does it relate to the argument made by the Frankfurt School? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2309759970 Written right after Trump's election as US President, Ross discusses the recent rise in the Frankfurt School's stock and its relation to the election. One of his main arguments is how the fear that many scholars had back in the 1950s could be brought up in 2016 and seen as an accurate prediction. More specifically, they were contemplating the possibility that a leader would be able to psychologically manipulate large numbers of people (Ross, 2016). With an ever increasing effect on mass audiences, 'pop culture' has helped elect Donald Trump - who is "as much a pop-culture phenomenon as he is a political one" (Ross, 2016). 

This prospect of boredom that Ross writes about is in direct correlation with arguments made by the Frankfurt School, which can be especially seen in their culture industry thesis. As Ross put it, "Traffic trumps ethics" (2016). Media loves Trump and all stories related to him because it was getting attention, high ratings and hits. Even if they did not align with Trump's views, whether it was consciously or subconsciously, the media wanted him to be elected. This prospect of boredom haunted reporters because there was no attraction of high traffic, of hits, of controversial topics. "Trump would be more 'interesting'" (Ross, 2016), he would get them higher ratings. 

All of this relates to the School's thesis of the culture industry in the way that culture has been commodified. Every form of culture has been turned into a commodity, and is now judged by its "potential financial value to the industry." (Thrift, 2022) The media industry is no different to this concept, and whether or not the mass media agrees with his political stand, he's what brings the most potential financial value. As such, Clinton is seen as an inferior political figure to the media as she does not guarantee that same monetary value. 

References: 
Ross, A. (2016, December 5). The Frankfurt School Knew Trump Was Coming. The New Yorker. https://www.newyorker.com/culture/cultural-comment/the-frankfurt-school-knew-trump-was-coming

Thrift, S. (2022, September 23). Week 3 - The Culture Industry (Pt. 2) SLIDES [PowerPoint slides]. Communications and Media Studies, University of Calgary. ]]> 2022-09-23 02:06:39 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2309759970 Week 4: How does the political activism of fans, as you read about in the about in the article by Kelly, demonstrate one key component of cultural studies? Can you think of another example of fan political activism? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2322119192 There's a clear mirroring effect happening between some of cultural studies' key components and fan political activism. More specifically, between K-pop fangirls' political power and the fact that audiences are not passive recipients of meaning; that these audiences are active and meaning is not black and white - it can have multiple interpretations depending on the viewer (Thrift, 2022). The same can be said in multiple aspects of Kelly's article "More Than Stans" (2020) where she describes how the iWatch Dallas App was interpreted differently by certain audiences - and how the K-pop fandoms 'shocked' the world by presenting a seemingly different aspect of themselves in response to the Black Lives Matter protests. By using their common interests and large influence on social media apps like Twitter, these fangirls posted fancams, which were seen as annoying prior, to now bombard accounts that they did not agree with (Kelly, 2020). They also shared petitions and raised money for funds (Kelly, 2020). These K-pop fangirls, a predominantly young female fan base who were generally criticized as wild fanatics and only cared about their idols, were now seen as a political force organized for the greater good (Kelly, 2020).

Anything but a passive audience, these fangirls are meaning makers - interpreting messages based on their cultural identity and group identity. And perception of fangirls is changing: certain messages lead to reactions that change they way they are seen by the world. Another example of fan political activism is Fandom Forward, a non-profit organization run initially by Harry Potter fans that focuses its attention on human rights issues, education and literacy across the world.

References
Kelly, E. (2020, June 11). More Than Stans: Stop Dismissing the K-pop Fandom's Political Power. Bitch Media. https://www.bitchmedia.org/article/k-pop-fandom-political-force

Thrift, S. (2022, September 27). Week 4 - British Cultural Studies (Pt. 1) [PowerPoint slides]. Communications and Media Studies, University of Calgary. ]]> 2022-10-01 16:20:10 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2322119192 Week 5: Pay attention to the media you consume this week and choose one media image that operates semiotically. Include this image in your journal and do a mini semiotic analysis – what is the signifier? Signified? Sign? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2330372124 A 'tifo' is a large banner that is made and displayed by fans of a particular soccer team before and during the game. This tifo was made by fans of the German soccer team Borussia Dortmund during a match for the Champions League (the most prestigious tournament in European soccer). Meant to intimidate the opposing team, the tifo's first and literal interpretation is that of a man holding binoculars, wearing a Borussia Dortmund hat, smiling in a particularly disturbing way, with an outline of the trophy behind him as well as text in German reading "Auf Den Spuren des verlorenen Henkelpotts" which translates roughly to "On the path of the lost Champion League trophy."

Yet, this gigantic smiling man holds more meaning than is at first thought. The binoculars could signify the fact that he's actively looking for the trophy, and his smile could signify that he's potentially found it, symbolizing that they will win - this is helped by the outline of the trophy in the back as well as the text below. However, the binoculars attached to the smile of his makes it seem almost nefarious. It's instantly interpreted as a 'creepy' smile, and this helps with the intimidation factor. His smile and binoculars could be a way of communicating to the opposing team that he's watching every player individually, he knows their tactics, he knows what they will do, and he knows their weakness - smiling as he's ready to act on their fear and weakness. He's also watching over his own team, but this time as an ally. All of this helps the home team play with confidence and inspire fear and uncertainty into their opponents.

Signifier (smiling man holding binoculars) + signified (looking for the trophy, watching over the other team) = sign (creepy man inspiring fear into opposing team)

References:
Yahoo Sports. (2013, April 9). Borussia Dortmund fans with an impressive yet creepy Champions League tifo display [image]. Yahoo Sports. https://sports.yahoo.com/blogs/soccer-dirty-tackle/borussia-dortmund-fans-impressively-creepy-champions-league-tifo-190004640--sow.html ]]> 2022-10-07 02:52:54 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2330372124 Week 6: Reality TV and governmentality? How might social media be an example of governmentality? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2340916980 Ouellette and Hay (2008) describe the way that governmentality's subjects and reality TV's contestants are self-governed, and that it is through freedom, and not control. This surveillance and governance is done indirectly, as people are self-governing and in turn, governing each other. This phenomenon is due to the fact that everyone knows they're potentially being watched, and as such don't ever want to stand out and be noticed. As a result, everyone governs themselves due to the risk of losing their freedom of movement, decision-making and privacy.

The popular Netflix reality TV show "Too Hot To Handle" exemplifies this concept through its use of security monitoring. Contestants are fined if they're caught partaking in sexual activities with others, and each morning, the security system updates them on the total fines. The contestants know they're being constantly monitored, yet they consistently partake in the 'forbidden' activities when they believe to be clear of the show's cameras and surveillance. However, the show is always able to track and surveil the contestants, leading to the message that no matter where and how secretive you may be, "we" are always watching you. The viewers are more exposed to this idea than the contestants.

Finally, users on social media mirror the behaviour of the contestants in Netflix's hit reality show; but it also shows what comes as a result of believing that we have anonymity and are not being watched. More often than not, digital users find themselves much "braver" online, able to speak their mind, sending insults or controversial takes to other users. This is through the idea that they believe to be more anonymous online, that no consequences may come to their actions. Yet, just like in the TV show, everyone is always being monitored. Even more so than "Too Hot To Handle", social media allows total surveillance, able to track every like, comment, follow, time spent etc. Through this benefit of anonymity, people lose this self-governance. However, social media does not allow anyone to ever fall out of its sight.

References:
Ouellette, L., Hay, J. (2008). Makeover television, governmentality and the good citizen. Journal of Media & Cultural Studies, 22(4), 471-484.


]]> 2022-10-14 19:32:22 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2340916980 Week 8: Which two concepts did you find most important in this week's reading? Why? How do they help us understand the representation of gender in media culture? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2393224225 On p.59 of Representing Gender (Harvey, 2020), Harvey summed up what I believed to be the most important aspect of this week's readings: "representation is therefore not simply about presence and visibility, but also concerns the range (and lack thereof) of stories ... that marginalized and oppressed groups are assigned in the media." To add on to this, Harvey (2020) continues by stating that despite claims regarding how progress has been made in terms of greater inclusion in media culture, there are still constraints on how women's stories continue being told (p.60). These concepts go hand-in-hand in explaining what I believe to be a big issue in the fight for equality in representation. It's not simply about stating that marginalized groups have been shown screen time, and 'voilà' equality, it's about the way they're represented and how they are able to communicate.

It helps garner a stronger realization that although there is an increase in the representation of oppressed groups in media culture, that does not automatically lead to equality. There is still the very large issue of how the representation is being dealt, worked with, and what it produces. This is a very important issue to face as with greater representation in media culture, certain stereotypes' abundance regarding these oppressed groups may increase or actually form due to the certain increased instance of being represented. In an increasing amount of screen time, which is not promoting any certain positive or unique characteristics, representation brings nothing good.

References:
Harvey, A. (2020). Representing Gender. In Feminist Media Studies (pp.58-83). Polity Press.


]]> 2022-11-21 22:14:02 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2393224225 Week 11: What is hooks' main argument in this chapter? What does it mean to 'eat the Other?' Choose one quote from the chapter that you think is the most powerful - why did it stand out to you? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2393225471 Hooks' argues that the West, more specifically white men with the example she first used, has a desire and fantasies about the racialized Other (Hooks, 1992, p.22). She examines the notion that the West is extremely self-centred, and as such believes that everything that isn't "normal" (part of the West) is seen as the Other and is more exotic, has experienced different aspects of life that make them more worldly, and are more sensual and sexual due to their "primitive" nature. The West desires this, but does not seek to become attached or fight the difference; the West instead shows its power in the way it "uses" the Other to explore and feel more, but all to serve itself and not the Other (Hooks, 1992, p.24).

Hooks' (1992) examination of why the West is attracted to these experiences is what stood out the most when reading her chapter: "The contemporary crises of identity in the West ... are eased when the "primitive" is recouped via a focus on diversity and pluralism which suggests the Other can provide life-sustaining alternatives" (p.25). It is powerful in the way it examines that there is a crisis in the West, where there seems to its people to have no real identity - to combat that, the West sees and uses the Other as a commodity in order to make itself feel special and have different experiences. Hooks touches on the "primitive" to be able to provide life-sustaining alternatives -- which to me describes how the West is attracted to this primitiveness due to the fact that it almost helps appeal to our own primitive instincts. All of this, in order to "feel" something different, through, the example of the book, sexual gratification. 

References:
Hooks, B. (1992). Eating the Other: Desire and Resistance. In Black Looks: Race and Representation (pp.21-40). Routledge. ]]> 2022-11-21 22:16:14 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2393225471 Week 12: What is a "queer reading" and why might this concept be useful for thinking about popular media cultures? Can you think of a contemporary media example where a queer reading would be useful? richardsjmax https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2393226788 What spoke to me most regarding a queer reading was that it is a way to read or look at any sort of media and challenge its heteronormativity. It's looking for moments within representation where perhaps the gender and sexuality that is present in any text can be questioned, challenged, and examined. Importantly, I also think it goes a bit deeper and may ask as to why certain representations are seen the way they are and perhaps why other representations, that do not conform to heteronormativity, are so underrepresented. 

I believe this to be important, especially in terms of popular media cultures, as it looks to challenge the hegemonic beliefs, which are meant to be thought of as almost 'natural', but are very much created and put in place. With pop culture examples, it is important to question why they are shown the way they are, and importantly why the majority of the audience may read it in a certain heteronormative way. I do think it would be very interesting to do queer readings on particularly old famous myths or stories, and examine perhaps how there was less or more flexibility in terms of challenging heteronormativity, and how it compares to today. ]]> 2022-11-21 22:18:05 UTC https://padlet.com/richardsjmax/zwnvyy9ymemo9wu7/wish/2393226788