Presentation for Computers and Writing, 2012 for the panel: Hacking the Academy. Here I examine the notion of "Hacking Narratives" through the collaborative storytelling project. A number of narratives are hacked from historical to authorial with displacement of time and authority producing new possibilities.
This slideshow, originally done for the 2012 Computers and Writing conference, in a series of lightning round talks, is now being revised for publication.
Presentation for Computers and Writing, 2012 for the panel: Hacking the Academy. Here I examine the notion of "Hacking Narratives" through the collaborative storytelling project. A number of narratives are hacked from historical to authorial with displacement of time and authority producing new possibilities.
This slideshow, originally done for the 2012 Computers and Writing conference, in a series of lightning round talks, is now being revised for publication.
A Creative + Data-Driven comprehensive pitch for a Downton Abbey Transmedia Extension: The Downton Desktop. Includes Market Research, data analytics, audience engagement and creative ideation + implementation plan. Presented to Transmedia Audience under guidance of Professor Henry Jenkins Spring 2013, University of Southern California School of Cinematic Arts.
Analysis of:
- Neal, M. A. (2005). New black man. New York: Routledge.
- Chapter 3 -- Queers in a Barrel
- Gross, L. (2001). Up from invisibility: Lesbians, gay men, and the media in America. Columbia University Press.
- Chapter 1 -- The Mediated Society
- Chapter 3 -- Stonewall and Beyond
- Chapter 5 -- Television Takes Over
- Chapter 7 -- Journalism's Closet Open
- Chapter 8 --Breaking the Code of Silence
- Chapter 11 -- Beyond Prime Time
- Chapter 13 -- Old Stories and New Technologies
A look at the psychographic dynamism in black culture and what it means for brands trying to engage 21st century African Americans and, potentially, the greater African diaspora.
The deck also highlight audience research done in conjunction with Bold As Love Magazine in 2010: "Black Rock Music and the Evolving Urban Mindset" http://www.scribd.com/doc/37785234/Black-Rock-Music-and-the-Evolving-Urban-Mindset
European journal of American studies 14-1 2019Specia.docxpauline234567
European journal of American studies
14-1 | 2019
Special Issue: Race Matters: 1968 as Living History in
the Black Freedom Struggle
The Black Arts Movement Reprise: Television and
Black Art in the 21st Century
Jeffrey O.G. Ogbar
Electronic version
URL: http://journals.openedition.org/ejas/14366
DOI: 10.4000/ejas.14366
ISSN: 1991-9336
Publisher
European Association for American Studies
Electronic reference
Jeffrey O.G. Ogbar, « The Black Arts Movement Reprise: Television and Black Art in the 21st Century »,
European journal of American studies [Online], 14-1 | 2019, Online since 05 April 2019, connection on 12
July 2019. URL : http://journals.openedition.org/ejas/14366 ; DOI : 10.4000/ejas.14366
This text was automatically generated on 12 July 2019.
Creative Commons License
The Black Arts Movement Reprise:
Television and Black Art in the 21st
Century
Jeffrey O.G. Ogbar
“How much longer are they gonna treat us like animals? The American correctional
system is built on the backs of our brothers, our fathers and our sons. How much
longer? It's a system that must be dismantled piece by piece if we are to live up to
those words that we recite with our hands on our hearts. Justice for all. Not justice
for some, but justice for all. How much longer?”—Cookie Lyons, “Empire” (2015)
“[The] artist’s role is to raise the consciousness of the people….Otherwise I don’t
know why you do it.”—Amiri Baraka1
1 In 1969, Larry Neal, one of the most visible black writers of his generation, emerged as a
chief exponent of a new artistic movement that was unfolding alongside the Black Power
Movement. For those curious about it, he explained that art had a critical role in the
Black Freedom Movement2 as a force to complement grassroots activism and political
struggle. Black artists were intimately connected to, and profoundly aware of, the black
freedom struggle; and their work reflected this familiarity. “The Black Arts Movement,”
Neal noted,
is radically opposed to any concept of the artist that alienates him from his
community. The movement…speaks directly to the needs and aspirations of black
America. In order to perform the task, the Black Arts Movement proposes a radical
reordering of the Western cultural aesthetic. It proposes a separate symbolism,
mythology, critique, and iconography.3
2 Throughout the United States a new black mood coalesced around aesthetes who
formulated new and audacious articulations of identity and politics that resonated with
wider black America. The Black Arts Movement (BAM) would have an indelible impact on
the cultural landscape of the country. It transformed the arts and literature in
innumerable ways from theatre, to murals, fashion, and more.
3 A half-century after Neal’s decree, there has been an unprecedented explosion of black
arts in the United States, exceeding the depth, scope, reach and influence of the BAM,
The Black Arts Movement Repr.
A Creative + Data-Driven comprehensive pitch for a Downton Abbey Transmedia Extension: The Downton Desktop. Includes Market Research, data analytics, audience engagement and creative ideation + implementation plan. Presented to Transmedia Audience under guidance of Professor Henry Jenkins Spring 2013, University of Southern California School of Cinematic Arts.
Analysis of:
- Neal, M. A. (2005). New black man. New York: Routledge.
- Chapter 3 -- Queers in a Barrel
- Gross, L. (2001). Up from invisibility: Lesbians, gay men, and the media in America. Columbia University Press.
- Chapter 1 -- The Mediated Society
- Chapter 3 -- Stonewall and Beyond
- Chapter 5 -- Television Takes Over
- Chapter 7 -- Journalism's Closet Open
- Chapter 8 --Breaking the Code of Silence
- Chapter 11 -- Beyond Prime Time
- Chapter 13 -- Old Stories and New Technologies
A look at the psychographic dynamism in black culture and what it means for brands trying to engage 21st century African Americans and, potentially, the greater African diaspora.
The deck also highlight audience research done in conjunction with Bold As Love Magazine in 2010: "Black Rock Music and the Evolving Urban Mindset" http://www.scribd.com/doc/37785234/Black-Rock-Music-and-the-Evolving-Urban-Mindset
European journal of American studies 14-1 2019Specia.docxpauline234567
European journal of American studies
14-1 | 2019
Special Issue: Race Matters: 1968 as Living History in
the Black Freedom Struggle
The Black Arts Movement Reprise: Television and
Black Art in the 21st Century
Jeffrey O.G. Ogbar
Electronic version
URL: http://journals.openedition.org/ejas/14366
DOI: 10.4000/ejas.14366
ISSN: 1991-9336
Publisher
European Association for American Studies
Electronic reference
Jeffrey O.G. Ogbar, « The Black Arts Movement Reprise: Television and Black Art in the 21st Century »,
European journal of American studies [Online], 14-1 | 2019, Online since 05 April 2019, connection on 12
July 2019. URL : http://journals.openedition.org/ejas/14366 ; DOI : 10.4000/ejas.14366
This text was automatically generated on 12 July 2019.
Creative Commons License
The Black Arts Movement Reprise:
Television and Black Art in the 21st
Century
Jeffrey O.G. Ogbar
“How much longer are they gonna treat us like animals? The American correctional
system is built on the backs of our brothers, our fathers and our sons. How much
longer? It's a system that must be dismantled piece by piece if we are to live up to
those words that we recite with our hands on our hearts. Justice for all. Not justice
for some, but justice for all. How much longer?”—Cookie Lyons, “Empire” (2015)
“[The] artist’s role is to raise the consciousness of the people….Otherwise I don’t
know why you do it.”—Amiri Baraka1
1 In 1969, Larry Neal, one of the most visible black writers of his generation, emerged as a
chief exponent of a new artistic movement that was unfolding alongside the Black Power
Movement. For those curious about it, he explained that art had a critical role in the
Black Freedom Movement2 as a force to complement grassroots activism and political
struggle. Black artists were intimately connected to, and profoundly aware of, the black
freedom struggle; and their work reflected this familiarity. “The Black Arts Movement,”
Neal noted,
is radically opposed to any concept of the artist that alienates him from his
community. The movement…speaks directly to the needs and aspirations of black
America. In order to perform the task, the Black Arts Movement proposes a radical
reordering of the Western cultural aesthetic. It proposes a separate symbolism,
mythology, critique, and iconography.3
2 Throughout the United States a new black mood coalesced around aesthetes who
formulated new and audacious articulations of identity and politics that resonated with
wider black America. The Black Arts Movement (BAM) would have an indelible impact on
the cultural landscape of the country. It transformed the arts and literature in
innumerable ways from theatre, to murals, fashion, and more.
3 A half-century after Neal’s decree, there has been an unprecedented explosion of black
arts in the United States, exceeding the depth, scope, reach and influence of the BAM,
The Black Arts Movement Repr.
S360 Digital brand storytelling and internet cultureErica Reid
S360 is a think-tank where creative minds get together to discuss topics surrounding web technology and digital media. The purpose is to explore the latest innovations in digital media, design and the web and share ideas that can progress the community. Just to recap, below are a few topics I touched on:
•"The Break"
•The aesthetic of cool
•Black culture on the internet
•Branding principles
D i s t ri bu t e d B l ac k n e s sC R I T I C A L OllieShoresna
D i s t ri bu t e d B l ac k n e s s
C R I T I C A L C U L T U R A L C O M M U N I C A T I O N
General Editors: Jonathan Gray, Aswin Punathambekar, Adrienne Shaw
Founding Editors: Sarah Banet- Weiser and Kent A. Ono
Dangerous Curves: Latina Bodies in the Media
Isabel Molina- Guzmán
The Net Effect: Romanticism, Capitalism, and the Internet
Thomas Streeter
Our Biometric Future: Facial Recognition Technology and
the Culture of Surveillance
Kelly A. Gates
Critical Rhetorics of Race
Edited by Michael G. Lacy and Kent A. Ono
Circuits of Visibility: Gender and Transnational Media Cultures
Edited by Radha S. Hegde
Commodity Activism: Cultural Resistance in Neoliberal Times
Edited by Roopali Mukherjee and Sarah Banet- Weiser
Arabs and Muslims in the Media: Race and Representation after 9/11
Evelyn Alsultany
Visualizing Atrocity: Arendt, Evil, and the Optics of Thoughtlessness
Valerie Hartouni
The Makeover: Reality Television and Reflexive Audiences
Katherine Sender
Authentic™: The Politics of Ambivalence in a Brand Culture
Sarah Banet- Weiser
Technomobility in China: Young Migrant Women and Mobile Phones
Cara Wallis
Love and Money: Queers, Class, and Cultural Production
Lisa Henderson
Cached: Decoding the Internet in Global Popular Culture
Stephanie Ricker Schulte
Black Television Travels: African American Media around the Globe
Timothy Havens
Citizenship Excess: Latino/as, Media, and the Nation
Hector Amaya
Feeling Mediated: A History of Media Technology and Emotion in America
Brenton J. Malin
The Post- Racial Mystique: Media and Race in the Twenty- First Century
Catherine R. Squires
Making Media Work: Cultures of Management in the Entertainment Industries
Edited by Derek Johnson, Derek Kompare, and Avi Santo
Sounds of Belonging: U.S. Spanish- Language Radio and Public Advocacy
Dolores Inés Casillas
Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay
Nitin Govil
Asian American Media Activism: Fighting for Cultural Citizenship
Lori Kido Lopez
Struggling For Ordinary: Media and Transgender Belonging in Everyday Life
Andre Cavalcante
Wife, Inc.: The Business of Marriage in the Twenty- First Century
Suzanne Leonard
Homegrown: Identity and Difference in the American War on Terror
Piotr Szpunar
Dot- Com Design: The Rise of a Useable, Social, Commercial Web
Megan Sapnar Ankerson
Postracial Resistance: Black Women, Media, and the Uses of Strategic Ambiguity
Ralina L. Joseph
Netflix Nations: The Geography of Digital Distribution
Ramon Lobato
The Identity Trade: Selling Privacy and Reputation Online
Nora A. Draper
Media & Celebrity: An Introduction to Fame
Susan J. Douglas and Andrea McDonnell
Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry
Suzanne Scott
Locked Out: Regional Restrictions in Digital Entertainment Culture
Evan Elkins
The Digital City: Media and the Social Production of Place
Germaine R. Halegoua
Distributed Blackness: African American Cybercultures
André Brock Jr.
Distributed Blac ...
Only Questions 1 &3 need to be answered
ARTICLES
“One Time for My Girls”: African-American Girlhood,
Empowerment, and Popular Visual Culture
Treva B. Lindsey
Published online: 8 May 2012
# Springer Science+Business Media, LLC 2012
Abstract In this essay I examine how popular/public culture depicts African-American
girlhood and adolescence. Primarily using a hip hop generation feminist theoretical
framework, I discuss both the limitations and progressive possibilities of popular visual
culture in representing African-American girlhood and adolescence. The essay moves
from a discussion of a video that highlights the disempowering possibilities of mass,
digital, and social media for black girls and adolescents to a discussion of two videos
propelled by a black girl-centered discourse of empowerment. Each of the videos
discussed offers insight into the lived experiences of African-American girls from
historical, aesthetic, and expressive perspectives. I use visual media text analysis, hip
hop generation feminist theory, and social and cultural theory to discuss how these
videos contribute to the formation of a contemporary discourse of empowerment for
black girls and adolescents. Ultimately, I assert the importance of popular/public culture
for empowering black girls and adolescents, while acknowledging extant limitations and
obstacles in mass, digital, and social media.
Keywords African-American . Girlhood . Empowerment . Hip hop feminist . Popular
visual culture
Popular, digital, and social media are primary sites for engaging with social and
cultural norms and racial, gender, sexual, and class ideologies. For marginalized
communities, in particular, representation in mass media can both reify and challenge
stereotypes of their respective communities. Politics of representation often play a
significant role for individuals and communities seeking equality and inclusion. In
US-based mass media, a history of derogatory and dehumanizing representations of
African-Americans exists (bell hooks 1999). According to bell hooks (1999), very
little progress has been made in mass media towards debunking damaging stereotypes
J Afr Am St (2013) 17:22–34
DOI 10.1007/s12111-012-9217-2
T. B. Lindsey (*)
University of Missouri-Columbia, Columbia, MO 65203, USA
e-mail: [email protected]
of African-Americans of all gender identities. bell hooks’ focus on racial, gender, and
sexual representation from a black feminist standpoint pivots around the African-
American adult experience. Adulthood is central to her analysis and, more broadly, to
many discussions about an “African-American experience.” She interprets represen-
tations of African-Americans as a community without honing in on the particularity
of damaging stereotypes that circulate about black children. Although similarities
exist between stereotypes of black children and adults, it is important to acknowledge
differing stereotypes as well as age-inscribed responses to harmful representations ...
Black Nationalism and Rap Music Dr. Errol A. HendersonRBG Communiversity
Henderson, Errol, Black Nationalism and Rap Music (1992) Bibliographic Section: African American History. Bibliographic Subject: Black Nationalism and Black Power
Muzing New Hoods, Making New Identities Film, Hip-Hop Culture.docxroushhsiu
Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture, and Jazz Music
Author(s): Guthrie P. Ramsey, Jr.
Source: Callaloo, Vol. 25, No. 1, Jazz Poetics: A Special Issue (Winter, 2002), pp. 309-320
Published by: The Johns Hopkins University Press
Stable URL: http://www.jstor.org/stable/3300430 .
Accessed: 20/10/2011 00:08
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to
Callaloo.
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MUZING NEW HOODS, MAKING NEW IDENTITIES
Film, Hip-Hop Culture, and Jazz Music
by Guthrie P. Ramsey, Jr.
We make our lives in identifications with the texts around us
everyday.
Anahid Kassabian, Hearing Film Music
The medium of film has communicated, shaped, reproduced and challenged
various notions of black subjectivity in 20th century America since D.W. Griffith's
Birth of a Nation appeared in 1915. Writing in 1949, Ralph Ellison argued that Birth of
a Nation "forged the twin screen image of the Negro as bestial rapist and grinning, eye-
rolling clown-stereotypes that are still with us today" (Ellison 275). Such depictions
in cinema had already existed in print media; and they have persisted in all mass-
mediated contexts in varying degrees throughout the century. Film, however, has
provided a most salient medium for the visual representation of African American
subjects. If, as Manthia Diawara has argued, the camera is, "the most important
invention of modern time," then it becomes an even more powerful tool when its
technology is combined with the powers of music. Indeed, when filmmakers combine
cinematic images and musical gestures they unite two of our most compelling modes
of perception: the visual and the aural.
Below I consider two films produced during the Age of Hip Hop: Spike Lee's Do
the Right Thing (1989) and Theodore Witcher's Love Jones (1997).1 On an immediate
level, I am interested how music shapes the way we perceive these cinematic
narratives individually; how music informs the way audiences experience their
characters, locations, and plots. But I am also making a larger argument for how the
musical scores of these films are sites for the negotiation of personal identity and self-
fashioning on the one hand, and the making and negotiation of group identity, on the
othe ...
One of our greatest historians, Dr. John Henerik Clarke informs us that, “THERE HAS BEEN A DELIBERATE DESTRUCTION OF AFRICAN CULTURE AND THE RECORDS RELATING TO THAT CULTURE. THIS DESTRUCTION STARTED WITH THE FIRST INVADERS OF AFRICA. IT CONTINUED THRU THE PERIOD OF SLAVERY AND THE COLONIAL SYSTEM. IT CONTINUES TODAY ON A MUCH HIGHER AND MORE DANGEROUS LEVEL. THERE ARE NOW ATTEMPTS ON THE HIGHEST ACADEMIC LEVEL TO DIVIDE AFRICAN HISTORY AND CULTURE WITHIN AFRICA IN SUCH A MANNER THAT THE BEST OF IT [ESPECIALLY THE AFRIKAN HISTORY OF ANTIQUITY] CAN BE CLAIMED, FOR EUROPEANS, OR AT LEAST ASIANS…AND THIS IS ONE OF THE WAYS THAT AFRIKAN PEOPLE HAVE BEEN PROGRAMMED OUT OF THE RESPECTFUL COMMENTARY OF [WORLD] HISTORY.”
This presentation, created by Syed Faiz ul Hassan, explores the profound influence of media on public perception and behavior. It delves into the evolution of media from oral traditions to modern digital and social media platforms. Key topics include the role of media in information propagation, socialization, crisis awareness, globalization, and education. The presentation also examines media influence through agenda setting, propaganda, and manipulative techniques used by advertisers and marketers. Furthermore, it highlights the impact of surveillance enabled by media technologies on personal behavior and preferences. Through this comprehensive overview, the presentation aims to shed light on how media shapes collective consciousness and public opinion.
Collapsing Narratives: Exploring Non-Linearity • a micro report by Rosie WellsRosie Wells
Insight: In a landscape where traditional narrative structures are giving way to fragmented and non-linear forms of storytelling, there lies immense potential for creativity and exploration.
'Collapsing Narratives: Exploring Non-Linearity' is a micro report from Rosie Wells.
Rosie Wells is an Arts & Cultural Strategist uniquely positioned at the intersection of grassroots and mainstream storytelling.
Their work is focused on developing meaningful and lasting connections that can drive social change.
Please download this presentation to enjoy the hyperlinks!
4. PODCASTING IN GENERAL
YOUR
LOGO
Researching
More research on
podcasting
• 13% of Af Am 12+ listen to
podcasts, behind Whites:
57% and Hispanics: 15%
• SOURCE: Edison
Research’s Infinite Dial
#PodcastConsumer 2019
ReportPhoto credit:
Darrow Montgomery
6. SOME
BLACK
RADIO
HISTORY
“THEALLNEGROHOUR”
Programming on WSBC in Chicago
WERD
”The first radio station owned and
programmed by African Americans.”
WDIA
“In Memphis, Tennessee, became the first to
employ an all-Black on-air announcing staff.”
1929
1949
1949
SOURCE: African American Registry
SOURCE: Urban Radio Nation
SOURCE: Black Detour
8. SOMERESEARCHONBLACKDIALOGUEINTHEDIGITALSPACE
ANDRÉBROCK
2012 “From the Blackhand
Side: Twitter as a Cultural
Conversation”
SARAHFLORINI
2019 article “Enclaving and
cultural resonance in Black
Game of Thrones fandom”
SHANEPAULNEIL
2013 “Black
Podcasts Bring the
Barbershop to the
Internet,”
ANDRÉBROCK,LYNETTEKVASNY
andKAYLAHALES
2010 “Cultural Appropriations
of Technical Capital: Black
women, weblogs, and the
digital divide”
SARAHFLORINI 2015 “The Podcast “Chitlin' Circuit”: Black
Podcasters, Alternative Media, and Audio
Enclaves”
9. SOMERESEARCHONBLACKDIALOGUEINTHEDIGITALSPACE
“Twitter and podcasting
constitute two core
elements of the Dem
Thrones fandom, and these
technologies are deployed
in a manner that allows the
fan practice to be both
enclaved and culturally
specific.”
2019 article
“Enclaving and
cultural
resonance in
Black Game of
Thrones fandom”
SARAHFLORINI
10. SOMERESEARCHONBLACKDIALOGUEINTHEDIGITALSPACE
“Elsewhere I have argued
that the talk radio–style
audio of many independent
Black podcasts allows for
performative elements that
invoke Black social spaces
like barbershops and beauty
shops, churches, and family
gatherings (2015). Thus,
these podcasts are able to
recreate the sonic milieu of
enclaved Black sociality.”
2019 article
“Enclaving and
cultural
resonance in
Black Game of
Thrones fandom”
SARAHFLORINI