CROSSROADS IN CULTURAL STUDIES
Fourth International Conference
June 29 - July 2, 2002, Tampere, Finland
Producing Meaning: From Media Production to Media
Texts
Organiser: Nico Carpentier
Carpentier, Nico (University of Antwerp,
Belgium) IDENTITY, CONTINGENCY AND RIGIDITY. THE (COUNTER-)HEGEMONIC
CONSTRUCTIONS OF THE IDENTITY OF THE MEDIA PROFESSIONAL
This paper aims to show the applicability of the discourse theory of Laclau and
Mouffe for the analysis of the identity of the media professional. This identity
is seen as contingent and constructed, but at the same time subjected to (and
fixed by) an hegemonic articulation based on four nodal points: objectivity,
autonomy, management of resources and employee/employer relations. Combined with
a theoretical discussion on the (counter-)hegemonic articulations, this allows
for the (re)construction of the field of discursivity that surrounds the
identity of the media professional, resulting in four dimensions that offer
(potential) points of identification. This field of discursivity is then used
(and put to the test) as a series of sensitising concepts for the qualitative
content analysis of the seven phone-in broadcasts the VRT programme Ter Zake has
organised, illustrating both the contingency of the identity of the media
professional and the rigidity of its hegemonic articulation.
Platt, Alexandra (University of Texas at
Austin, USA) BEST ACTRESS AND FEMINIST FILM THEORY - HISTORY TO PRESENT TO
FUTURE
Feminist film theory plays an integral part in the theoretical structure and
interpretation of female roles in film. Traditionally accepted feminist film
theories ineffectively reflect the progress and developments of female roles
offered by contemporary mainstream Hollywood films. This presentation will
analyze predominant feminist film theory ideologies and apply them to the five
roles nominated for Best Actress at the 2000 Academy Awards, in order to reveal
the gaps within our current structure for understanding and interpreting female
roles. I will present a new theoretical position that asks contemporary mass
audiences to respect the progress achieved in mainstream female roles, and to
recognize the limitations that still exist despite social developments. My
presentation will be supplemented with a video (edited compilation) that
visually illustrates how each film and its lead female character requires a more
expansive framework within which mass audiences can successfully decode and
experience contemporary mainstream female roles.
Pilvre, Barbi and Karise, Merit (Tartu
University, Estonia) SCREENING GENDER IN ESTONIA
This paper will describe and analyse an attempt to apply the methodology of the
internationally produced media-critical toolkit "Screening Gender" to
Estonian TV production. We shall highlight the interesting cultural differences
and similarities in gender problematics between Northern -European countries and
postsoviet Estonia which we have met in the production process of the analogical
toolkit "Screening Gender Estonia" based on the Estonian material.
Media, especially television is the key institution in reproducing gender in the
society. Gender equality discussion is just beginning in Estonia differently
from Northern Europe where this is an institutionalized area. At the same time
market economy has brought along pressures to maintain traditional gender roles.
Besides this the soviet past with the formal gender equality is still
influencing the discussions. However, research has shown universality of the
gender problematics as far.
Sze, Man Hung, Stephen (The Hong Kong
Polytechnic University, Hong Kong) THE SOCIAL FATE OF HONG KONG EROTIC FILMS
The Hong Kong film industry developed different strategies in response to the
influx of erotic films. It created different sub-genres of local erotic films,
and then it even creatively infused eroticism into social issues and problems.
Both the rich classical erotic literature of ancient China and the modern urban
social life of Hong Kong provided rich settings and themes, and the social
erotic sub-genre that followed, which attempted to portray contemporary
sexuality and gender relation, was even more impressive. The genre gained some
popularity, but later declined into oblivion due to different reasons. The paper
is based on research done on this cultural phenomenon.
|