A2 Feminism and the Media part 1 (2020)
Stereotypes, Male Gaze, Symbolic annihilation, Bechdel Test, Beauty Myth, Objectfication and Dismemberment, Postfeminism
A2 Feminism and the Media part 1 (2020)
Stereotypes, Male Gaze, Symbolic annihilation, Bechdel Test, Beauty Myth, Objectfication and Dismemberment, Postfeminism
Feminist Criticism: is a literary form of criticism that gives the perspective of writing through a feminist perspective. It is a political form of literature that analyzes the questions of how male and females relate to each other and the world, the repression of women and how women are portrayed in literature
Hegemony, Marxism and Stereotype TheoryKirstie Stark
Hegemony, Marxism and Stereotype Theory - week 2 A'Level Media introduction to theory. This slide show has been adapted from others that can be found on this site.
Feminist Criticism: is a literary form of criticism that gives the perspective of writing through a feminist perspective. It is a political form of literature that analyzes the questions of how male and females relate to each other and the world, the repression of women and how women are portrayed in literature
Hegemony, Marxism and Stereotype TheoryKirstie Stark
Hegemony, Marxism and Stereotype Theory - week 2 A'Level Media introduction to theory. This slide show has been adapted from others that can be found on this site.
tFirst published in 1992by Routledge11 New Fetter Lan.docxtodd191
't
First published in 1992
by Routledge
11 New Fetter Lane, London EC4P 4EE
Simultaneously published in the USA and Canada
by Routledge
a division of Routledge, Chapman and Hall Inc.
29 West 35th Street, New York, NY 10001
O 1992 Richard Jenkins
Typeset in 10 on 11 Times by Intype, London
Printed in England by Clays Ltd, Sr Ives plc
A11 rights reserved. No part of this book may be reprinted
or reproduced or utilized in any form or by any electronic,
mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any
information storage or retrieval system, withoul permission
in writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British
Library.
Library of Congress Cataloging in publication Data
Jenkins, Richard, 1952-
Pierre Bourdieu/Richard Jenkins.p. cm. -(Key socioiogists)Includes bibiiographicai references and index.
1. Bourdieu, Pierre. 2. Sociology-
France. 3. Sociology-
Methodology. I. Titie. IL Series.
HM2?.F81461992
301 ' .01 -dc20
ISBN 0-415-05798_1
92-?720
CIP
fil
136 Pierre Bourdieu
projects, and matters of taste and aesthetic judgement, even the
moit individual or personal, contain within them a necessary
reference to 'a common meaning already established'.
Which is where what Bourdieu calls the 'cultural unconscious'
comes in: 'attitudes, aptitudes, knowledge, themes and problems,
in short the whole system of categories of perception and thought
acquired by the systematic apprenticeshiq y{ch the school
organizes or makes it possible to organize'.[25] In other words,
the habitus as it is produced by the pedagogic work of the
education system. This expresses itself in a range of effects: from
'unconscious borrowings and imitations' to the inspiration which
derives from 'the common source of themes and forms which
define the cultural tradition of a society and an age'.1261 But it
is dorle unknowingly, and this masks the importance of society
and culture, allowing the celebration * the misrecognition - of
individual, autonomous creativity and the glorification of Cul-
ture. In the same way, the school can only do its work by denying
the determinisms of social origins and culture and valorising
ability and Education. In this, both - Culture and Education -
are aiso legitimising the existing social relations of domination.
The canons of legitimacy - shared understandings of the nature
of Art and Culture and of how they are classified - divide the
cultural field and its vassal, the intellectual field, into the familiar
three zones: universal legitimacy, contested legitimacy (where
genres are in the process of legitimisation, or not) and the non-
legitimacy of arbitrary personal taste. As we have already seen,
thise classificatory caiegories organise cultural consumption.
Bourdieu is insisting that cultural production is thus classified
also. These criteria of legitimacy are the constraints within which
cre.
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Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
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Palestine last event orientationfvgnh .pptxRaedMohamed3
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2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
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Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
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2. WHAT IS POST-MODERNISM?
• Notoriously hard to define, can mean different things to different people.
• Consider the words post-modern: What do you think they mean?
5. WHAT IS POST-MODERNISM?
If “Modern” is now, how can we be after it?
So what is/was modernism?
Modernism is/was an intellectual school of thought that in art,
literature, architecture and philosophy that had far reaching
impact upon society and culture
6. Modernism:
The answer to the whole world and everything?
•Modernism is/was a movement a cross culture: art, literature, architecture, philosophy,
etc
•It followed other movements such as renaissance, enlightenment, impressionism,
romanticism, expressionism, realism, etc.
•As with these other movements, its proponents were looking for ‘answers’: new ways to
try and understand the world and life itself
7. Modernism:
The answer to the whole world and everything?
•Embracing of Major Developments in Technology at the start of the 1900s. Can
you think what they were?
•Rejection of “traditional” values and ideas (e.g. religion), in favour of science
and technology – ‘rationality’
•Photography and Recording = “Crisis of Representation” & “End of Realism”
•Art Movements considered Modernist include Cubism, Surrealism, Dada,
Expressionist.
8. Cubism
Paul Cezanne (1839-1906): The View contains The Viewer
…painting not Reality but the effect of Perceiving it
•Simplification to geometric Shapes
•Synthesis of space and figure
•Multiple and simultaneous viewpoints
•Interlocking Movements
Rejects notion of a single isolatable event
The Human is non-exceptional to reality
Pablo Picasso’s
“Girl with Mandolin”(1910)
9. Dadaism (1916-24) - anti-art?
•Horrified by atrocities of outbreak of WW1, Dada was a retaliation to the
bourgeois intellectualist elite whose ideologies were believed to have led to
it.
•Marcel Duchamp’s “Ready-mades” sought to breakdown the rules of art.
•Any non-art object could be displayed as art if disassociated from its
original use context and meaning
•The mass-reproduced object displaced the artistic originality and sacred
uniqueness of the work of art.
10. Dadaism (1916-24) - anti-art?
“If it’s signed and you can’t
piss in it because it’s stuck
on a museum wall-it’s got to
be art-what else?” Marcel
Duchamp
“Fountain” (1917) by R.Mutt
(M.Duchamp)
However it backfired. Instead of being
a challenge to the establishment, they
became admired for their “aesthetic
beauty”.
11. Surrealism
“Dictation of thought in the absence of all control exercised
by reason, outside of all aesthetic or moral preoccupation.”
from Surrealist manifesto
14. Pop Art
Takes Dada’s “Readymades” even further, reproducing everyday objects as art,
sometimes with a hint of parody and blurring the barriers between “Hi” and “Lo” art.**
Roy Lichtehstein’s
Drowning Girl(1952)
16. Modernism/Post Modernism
Hard to define where one ends and one begins. Some even argue
that Post Modernism and Modernism are actually both part of the
same thing.
But “Post” usually refers to something after (and against) some
previous movement/idea.
Post modernism continues many of the same ideas of modernism,
but has several key differences.
17. Summarising Post Modernism
Post modernism took modernism, which rejected the traditions of religious institutions and enlightenment
thinking, one step forward by basically writing off all previously held notions of truth.
Its key characteristic is disbelief in the idea of objective meaning. From a postmodern point of view, there
is no such thing as ‘truth’, only individual ways of interpreting the world.
19. Summarising Post Modernism
According to postmodernists any theory that makes claims about universal or
underlying truths is just missing the point. For them, the point is that modern
culture is so fragmented, so diverse, so full of differences that no unified theory
could possibly explain such a melting pot.
Post modernism is therefore about challenging the very notion of ‘truth’ and
challenging “social constructs” – arbitrary cultural rules, boundaries and
structures that have been put in place and accepted as “natural” and/or
necessary, but are in fact not.
In doing so, postmodern products often play with rules, bending and breaking
them, undermining any sense of right and wrong, correct and incorrect.
A common theme in post modern texts is how they bend rules, break boundaries
and question the established order of things.
20. Post Modernism: Breaking boundaries
Mixing High Culture & Low Culture
Once regarded as separate culture and art for different classes of
people, with different levels of intellect and respect, these are now often
blended and mixed together.
A sculpture of a balloon animal, a clothes peg, an opera based on a chat
show, a Lego set based on art work and orchestral concert of video
game music
21. Post Modernism: Breaking boundaries
This is when a product draws attention to its own ‘constructed-ness’.
For instance, when a character in a film speak into the camera, acknowledging the audience and
breaking the fourth wall and the boundary between the onscreen world and that of the viewer.
See playlist for more examples: https://www.youtube.com/playlist?list=PLUPxDOG-
YGRBXO6UbY8ZRQK19C-U5SUI5
•Self awareness (AKA Self reflexiveness)
22. Post Modernism: Breaking boundaries
Another example might be when
texts ironically refer their own
medium. For instance, The
Simpsons have a history of the
characters making jokes about TV
cartoons.
Or films ‘about films’ like Scream,
The Cabin in The Woods and
Bloodfest which are horror films
about horror films where the
characters openly discuss the
conventions of the genre.
Or in The Incredibles when the
villain Syndrome talks about being
caught ‘monologuing’
•Self awareness (AKA Self reflexiveness)
Examples: https://www.youtube.com/playlist?list=PLUPxDOG-
YGRDPwUANtQoEJxblNW-Mu9Uf
23. Post Modernism: Breaking boundaries
Intertextuality
When a media product breaks the boundary between itself and
other media products, by making reference to other media
products.
• Can add realism: characters live in same world and know same
media as audience
• Can appeal to target audience familiar with referenced media
• Can make audience feel smart because they ‘get’ the
references
• Can help explain information by drawing upon audience’s
prior knowledge from other media
This can also been seen in ‘sampling’ in music, especially hip
hop and dance music.
24. Post Modernism: Breaking boundaries
Genre Bending: Parody and Homage
Similar to intertextuality, postmodern texts often make references
to other known films through parodies and homages to them,
mimicking their features, either to mock them or pay tribute.
25. Post Modernism: Breaking boundaries
Genre Bending: Hybrid
Also, post modern texts may mix together different genre conventions into genre hybrids, blurring the
boundaries between genres.
26. Post Modernism: Breaking boundaries
Genre Bending: Hybrid
Other products defy genre by constantly changing. Consider how anthology series like Black Mirror conform
to different genres in different episode
27. Post Modernism: Breaking boundaries
Narrative
Similarly, post modern narratives do not fit conventional structures. They may be fragmented, non-linear or
incomplete, defying audience expectations and breaking with convention.
They are unlikely to easily fit Todorov’s
equilibrium- disequilibrium – new
equilibrium structure. They may also be
morally ambiguous, replacing clear cut
good vs bad binary opposite
relationships with ones that make us
question what really is good, and what
really is bad.
29. STYLE OVER SUBSTANCE
Post modernism’s rejection of rules means critics consider it nihilistic.
It is destructive, but offers no solutions. It constantly undermines society, making us
question everything, without suggesting ways to improve things.
A result of this rejection of truth is that many postmodern texts lack any attempt at
meaningful content themselves – they lack substance.
Post modern artefacts are sometimes called superficial. They are concerned more with
style than substance. They lack any deeper mean. This is known as depthlessness.
30. STYLE OVER SUBSTANCE
Postmodernism concerns itself primarily with surfaces rather than the ‘hidden
depths’ of structuralism or psychoanalytical theory.
Much of contemporary culture communicates this idea of depthlessness, like a film
set that may appear to be three-dimensional but isn’t.
Often, a cultural product can look as if it is heavily weighted down with meaningful
signifiers, but this is an impression given by the form rather than the content of the
artefact.
31. STYLE OVER SUBSTANCE
This ‘style over substance’ idea can also be applied to the postmodern identity.
In this view, a person’s surface appearance (their clothing, make-up, hairstyle,
personal possessions and body adornments) neither mask or transmit that person’s
true identity because they are the true identity.
Personal identity becomes a matter of surface appearance and therefore infinitely
variable and changeable.
32. MEDIA SATURATION
French Philosopher Jean Baudrillard noted that we live in an era of media saturation in
which we are bombarded with information and signs.
Technology has made it easier than ever to create reproduce
and share information.
At the same time, the boundary between what is real and
what is a copy, what is true and what is fake, what is
meaningful and what is meaningless, has become increasingly
blurred
33.
34. SIMULATION
For Baudrillard, we live in an era of media saturation in which we are bombarded
with information and signs.
So much of our experience is in the form of media texts rather than first-hand direct
experience that mediated signs become ‘more real than reality itself’.
This is simulation: the part of our lives that is dominated by computer games,
television, social networking on the internet, magazines and all other forms of
media experience.
35.
36. SIMULATION
“The Screenslaver interrupts this program for an important announcement.
Don't bother watching the rest. Elastigirl doesn't save the day; she only postpones her defeat. And
while she postpones her defeat, you eat chips and watch her invert problems that you are too lazy to
deal with.
Superheroes are part of a brainless desire to replace true experience with simulation. You don't talk,
you watch talk shows.
You don't play games, you watch game shows. Travel, relationships, risk; every meaningful
experience must be packaged and delivered to you to watch at a distance so that you can remain
ever-sheltered, ever-passive, ever-ravenous consumers who can't free themselves to rise from their
couches, break a sweat, never anticipate new life.
You want superheroes to protect you, and make yourselves ever more powerless in the process. Well,
you tell yourselves you're being "looked after". That you're inches from being served and your rights
are being upheld. So that the system can keep stealing from you, smiling at you all the while.
Go ahead, send your supers to stop me. Grab your snacks, watch your screens, and see what
happens. You are no longer in control. I am.”
38. IMPLOSION
For many of us, this is a very big part of our
lives; maybe the biggest and most important.
Consequently, Baudrillard argues, the
distinction between reality and simulation
breaks down altogether: we make no
distinction between the direct reality that we
experience first hand and the simulated
experience offered by media.
This is implosion, where the boundary
between reality and simulation has imploded
39. HYPERREALITY
Finally, we may get to the stage where the difference between reality and mediated
experience hasn’t just got blurred, the ‘image’ part has got the upper hand; this is
hyperreality.
40. HYPERREALITY & SIMULACRUM
Examples of Hyperreality:
• Disneyworld
• Betty Boop (modelled on singer/actress Helen Kane)
• a sports drink of a flavour that doesn’t exist ("wild ice zest berry")
• a plastic Christmas tree that looks better than a real one ever could
• a magazine photo of a model that has been touched up with a computer
• a well manicured garden (nature as hyperreal)
• pornography ("sexier than sex itself")
“Reality becomes redundant and we have reached Hyper-reality in which images breed incestuously
with each other without reference to reality or meaning”(Appiginanesi, p.56)
By Jean Baudrillard
43. SIMULACRUM: FASHION
Once, denim was simply a cheap to produce, hard wearing fabric for
manual labour work.
In time, it became a symbol for ‘working class’ and rebellion, then
fashionable as a symbol for cool/rough/edginess.
Now, designer labels sell (expensive) jeans already ripped. Now they
are just fashionable, but detached from their original meaning.
44. SIMULACRUM: FASHION
It is unlikely this man, or any potential customers have been to the
“Transatlantic Motorcycle Piston Works Garage” advertised on the
T-shirt.
It’s unlikely the garage exists at all.
But t-shirt represents a sort of “something” to do with Americana,
motorcycles and ‘rebels’, but without being based on anything real
at all.
45. And how have pirates – the terrorists of their day,
responsible for terrible crimes, now come to be a them
for children’s parties?!
46. POST-TRUTH?
A result of questioning the “truth” of traditional structures has led to questioning the truth of any
structures.
“Relativism” – the idea that there is no objective truth, it just depends upon your point of view,
has lead to a kind of ‘hyper-skepticism’, a disbelief in all ‘facts’.
This is made especially possible with the advent of the Internet which, with less regulation and
the ability of anyone to write anything, has lead to a wide range of conflicting ‘truths’ being
accessible, feeding conspiracy theories and confusion.
This has even reached levels of politics, where high profile politicians are able to make false
claims with relative impunity (without consequence).
47. “ALTERNATIVE FACTS” AND FAKE NEWS
Following President Trump’s inauguration ceremony, social media and news outlets reported the
low number of crowds who took to the streets to celebrate, which were significantly lower that for
Obama, his predecessor.
In response to this, and in spite of incontrovertible evidence to support this, Trump’s Press
secretary Sean Spicer went on TV to challenge, saying that the crowds had in fact been the
biggest turnout ever.
"Alternative facts" was then a phrase used by U.S. Counselor to the President Kellyanne Conway
during a Meet the Press interview on January 22, 2017, in which she defended White House
Press Secretary Sean Spicer's false statement about the attendance numbers of Donald Trump's
inauguration as President of the United States. When pressed during the interview with Chuck
Todd to explain why Spicer would "utter a provable falsehood", Conway stated that Spicer was
giving "alternative facts". Todd responded, "Look, alternative facts are not facts. They're
falsehoods."
49. POST MODERNISM
JEAN BAUDRILLARD: SUMMARY OF KEY IDEAS
In postmodern culture the boundaries between the ‘real’
world and the world of the media have collapsed and
that it is no longer possible to distinguish between reality
and simulation.
In a postmodern age of simulacra we are immersed in a
world of images which no longer refer to anything ‘real’.
Media images have come to seem more ‘real’ than the
reality they supposedly represent (hyperreality).
50. IS IT A POSTMODERN TEXT?
Things to consider when analyzing a media product:
• Intertextuality
• Self reflexiveness/self awareness
• Genre bending
• Non conventional narrative
• Blurring of “high” and “low culture”
• Hyperreality/simulacrum – blurring boundary between reality and representation of reality
• Irony
• Depthlessness
51. For more videos/explanations and examples visit postmodernism playlist on Youtube
https://www.youtube.com/playlist?list=PLUPxDOG-YGRAt7bPL7pk2stK47aNSpE80