Imagining and building a nation


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Imagining and building a nation

  1. 1. Images of Wordles are licensed<br />Imagining and Building a Nation<br />
  2. 2. Belonging<br /> Identity<br /> Social practice<br /> Class<br />Race and Gender<br />Constructivist approaches<br />
  3. 3. National<br /> Ethnic<br /> Racial<br />Contingent cultural creations<br />
  4. 4. Benedict Anderson<br />Courtesy of:<br />Courtesy of: <br />
  5. 5. Imagined Community<br />NATION<br />Print publishing<br />PRINT CAPITALISM<br />Standardized language<br />Common print language<br />Anderson places the conception of ‘nation’ at the emergence of print publishing.<br />Courtesy of:<br />
  6. 6. Common print language<br />The primary catalyst for transforming religious language, dynastic organization, and time consciousness<br />willingness to die for their nation, rather than for an abstract ideology<br />Courtesy of:<br />
  7. 7. How do we imagine a nation?<br />Nationalism encourages good behaviour...<br />
  8. 8.<br /><br />
  9. 9. Imagined Communities…the work has been strongly criticized<br />
  10. 10. Radhika Desai, Professor of Political Studies at the University of Manitoba<br /><br />
  11. 11. Neo-liberalism and its derivatives<br />smoothed the path away <br />from the rich traditions of theorizing politics,<br />political economy and history, <br />not to mention culture<br />
  12. 12. EnriqCastelló,Researcher at the Public University of Tarragona, Catalonia<br />Nation-building<br />Role of fictional television<br />Courtesy of:<br />Courtesy of:<br />
  13. 13. Castelló’sConstructivist Model<br />decentralization of certain state competences, is essential to the current resurgence of western stateless nations.<br />Castelló sees television as the primary link that people have to society at large<br />Courtesy of:<br />
  14. 14. WHICH mechanisms define the nation<br />HOW organizational and political power work<br />WHY fiction, as a text, is especially important <br />
  15. 15. Signifiers of nation to enhance a view of nationhood<br />Strong localized tradition<br />To enhance independence<br />Rather than succumb to American media dominance<br /><br />
  16. 16. Nation building – 4 main ways<br />Localization and territory<br />Language<br />Cultural representation<br />Historical references<br />
  17. 17. National realities<br />Repetition of narratives and cultural symbolism in television fiction is a powerful generator of national realities<br />
  18. 18. Localization and Territory <br />In television shows, territory is represented through title presentations, via transitional shots between scenes, in outdoor scenes, and in characters. <br />Courtesy of:<br />
  19. 19. Language issues and uses<br />Many nations use fictional <br />television drama as a way to revitalize <br />national interest in <br />lesser-used languages<br />
  20. 20. Cultural Representations and Social Values<br />Social values and community reaction to daily struggle is entrenched in traditional social values<br />
  21. 21. Historical Issues<br />Traditional historical holidays incorporated into fictional programming to give context and placement to characters and settings.<br />
  22. 22. National Culture<br />Ordinary<br />Normal<br />
  23. 23. What makes the national identity banal?<br />What does ‘Canada’ signify?<br />
  24. 24.
  25. 25. Television fiction is a cultural product that is created and consumed as a routine. <br />
  26. 26. Can a ‘fiction’ a thousand times repeated be understood as a ‘fact’?<br />
  27. 27. HomiBhabha<br />nationality as a cultural construct<br />power relations crucial <br />Who is legitimated to tell the nation’s story<br />we have to understand who tells the story, and how the story is told<br />
  28. 28. PriyaJha, Christopher Gittings, and Hyangjin Lee<br />
  29. 29. Jha - Production discourses<br />Bollywood cinema<br />“consolidated national identity” <br />the contestation of nationalism and gender.<br />
  30. 30. Ideological and Representational Dimension<br />while the narrative appeared to hold place for women<br />the melodrama of the song space erased women from the social order<br />Discover how the CINEMATIC EXCESS of film may direct the spectator to read films as OPPOSITIONAL cultural practices.<br />
  31. 31. Gittings – trajectory of the Mountie<br />Literary<br />Television<br />Cinematicnarratives<br />
  32. 32. The MOST commonly recognized signifier for CANADA<br />Courtesy of:<br />
  33. 33. Lee’s study: Contemporary Korean cinema<br />Class<br />Althusser<br />Nationhood<br />Gramsi<br />Gender Issues<br />Foucault<br />Neo-Marxist<br />Poststructuralist Postmodern Theories<br />Address the significance of film as an ideological apparatus<br />
  34. 34. National messages are encoded in media<br />
  35. 35. Power of New Media technology<br />Positive banal nationalism<br />Recovering & restoring<br />National stage<br />Connections<br />‘Normalize’ and ‘Standardized’<br />Language<br />History<br />Traditions<br />
  36. 36. Aboriginal People’s Television Network<br />Established in 1999<br />To express Aboriginal culture<br />First Nations standpoint<br />
  37. 37. New means to communicate and connect with other indigenous groups<br />
  38. 38. Aboriginal People’s Television Network<br />APTN Mission<br />“To SHARE our People’s journey, CELEBRATE our cultures, INSPIRE our children and HONOUR the wisdom of our Elders”<br />Economic Impact<br />With a 2007 operating budget of $26.5 MILLION, and a net income of $9.3 million, APTN’s ECONOMIC IMPACT on the Aboriginal production community and related Canadian media industry CANNOT BE UNDERSTATED. <br />
  39. 39. Storytelling traditions<br />Aboriginal concepts of hope, struggle, wholeness, history, healing, relationships, family and traditions<br />
  40. 40. Celebration of accomplishments<br />healing<br /> culture<br /> dance<br /> sports<br />achievement<br /> survival<br />Unity and diversity amongst Aboriginal peoples<br />issues of fellow Indigenous people in other countries <br />hopes, dreams and struggles<br />
  41. 41. Castello’s 4 identifiers of nation building<br />We look at these elements in light of Aboriginal Peoples Television Network<br />
  42. 42. Four identifiers of nation building<br />Localization and Territory<br />Comedy series which details the life of a blended family in a Northern Alberta town<br />Courtesy of:,39331760<br />
  43. 43. Language Issues and Uses<br />the move fromspoken language to print<br />the role of modern mass media allowsfor many voices, speaking a variety of languages<br />Voices of the Land explore the diversity and talent of independent Aboriginal documentary producers.<br />The children’s show, Raven’s Tales is broadcast in four languages, English, French, Cree and Haida<br />Courtesy of:,15163730<br />
  44. 44. Cultural Representation & Social Issues<br />Cashing In<br />Your eye on the yukon<br />Your Eye on the Yukon, “provides a window to Yukon First Nation culture and traditional values” <br />Courtesy of :,20720631<br />Cashing In is a dramatic comedy series about casino life on a fictional Aboriginal reserve in southern Manitoba. <br />Courtesy of:,29199150<br />
  45. 45. Historical and institutional references<br />Blackfly is set in a frontier fort in colonial Canada, and includes a mixed cast of Aboriginal, British, and Scottish characters. <br />,44605217<br />
  46. 46. Nation building<br />is a story of representation - an autobiography<br />as site of contestation where diverse political versions of the nation are debated<br />WHO is telling the story and HOW<br />
  47. 47. Nation building<br />A nation needs its own fiction<br />That is the end of our story…<br />
  48. 48. Team 5<br />Darcie Davidson<br />Robyn Yaredic<br />Marie Chatterton<br />Ryan Bartlett<br />Pam Botterill<br />Colleen Boyle<br />Jean MacGregor<br />
  49. 49. References<br /> References<br /> <br />Anderson, B. (1991). Imagined communities: Reflections on the origin and spread of nationalism. Retrieved from:<br /> <br />Actors grateful for Mixed Blessings. (2007, November 5). Edmonton Journal. Retrieved from: id=fdf1a350-56fd-487d-aa73-0396ff283f49&p=1<br /> <br />Aboriginal Peoples Television Network. (n.d.). Factsheet. Retrieved from:<br /> <br />Aboriginal Peoples Television Network. (2007). Annual Report. Retrieved from:<br /> <br />Baltruschat, D. (2004). Television and Canada’s Aboriginal communities seeking opportunities through traditional storytelling and digital technologies. Canadian Journal of Communication, (29) 1. Retrieved from:<br /> <br />Barker, (2008). Ethnicity, Race and Nation. In Cultural Studies: Theory and Practice, 3rd ed. Sage Publications: London.<br /> <br />Castelló, E. (2009). The nation as a political stage: A theoretical approach to television fiction and national identities. The International Communication Gazette, (71) 4, pp. 303-320.<br /> <br />Castelló, E. (2007). The production of television fiction and nation building. European Journal of Communication,(22) 1, pp. 49-68. <br /> <br />Desai, R. (2009, March 16). The inadvertence of Benedict Anderson: Engaging Imagined Communities. Asia-Pacific Journal. Retrieved from: Radhika-Desai/3085<br /> <br />Gittings, C. (1998). Imagining Canada: The singing Mountie and other commodifications of nation. Canadian Journal of Communication,(23) 4, pp. 507 –<br /> <br />Hamilton, M. (2006). New Imaginings: The legacy of Benedict Anderson and alternative engagements in nationalism. Studies in Ethnicity and Nationalism,(6) 3, pp. 73- 87.<br /> <br />Jha, P. (2003). Lyrical Nationalism: Gender, Friendship, and Excess in the 1970’s Hindi Cinema. The Velvet Light Trap (51), pp. 43-53.<br /> <br />Khazaleh, L. (2005). Benedict Anderson: “I like nationalism’s utopian elements”. Cultural Complexity in the New Norway. University of Oslo. Retrieved from:<br /> <br />Lee, H. (2000). Contemporary Korean cinema: Identity, culture, and politics. Manchester University Press, New York.<br /> <br />Roth, L. (2000). Bypassing of borders and building of bridges: Steps in the construction of the Aboriginal Peoples Television Network in Canada. Gazette, (62) 3-4. pp. 251-269.<br /> <br />