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.