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Journal articles on the topic 'Self-reflexivity (film)'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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1

Suh, Yong Chu. "Found Footage Film of Self-Reflexivity." Cartoon and Animation Studies 33 (December 31, 2013): 317–41. http://dx.doi.org/10.7230/koscas.2013.33.317.

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2

Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instr
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Walkur, Abby. "Three Cheers for the Essay Film: How Chris Marker’s Vive la baleine Epitomizes Timothy Corrigan’s Model." Film Matters 12, no. 1 (2021): 82–92. http://dx.doi.org/10.1386/fm_00132_1.

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Chris Marker’s Vive la baleine (1972) is widely hailed as a quintessential essay film. This article examines how the film adheres to essayistic characteristics using film scholar Timothy Corrigan’s definition of the essay film mode. In particular, the article highlights the film’s following traits: the three-pronged and gendered approach to narration, the intentional aesthetic and stylistic inconsistency, the underlying critique of the whaling industry, the explicit adoration expressed toward the whale, and the film’s self-reflexivity.
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Gürbüz, Temmuz Süreyya. "Punk aesthetics of Pedro Almodóvar’s Pepi, Luci, Bom: Self-reflexivity, subcultural formations and queer temporalities." Journal of European Popular Culture 11, no. 1 (2020): 37–51. http://dx.doi.org/10.1386/jepc_00011_1.

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Tracing the direct and indirect influences and cultural connections between earlier counter-cultures and avant-garde art has been a useful method to historicize the aesthetics that is created by subcultures. Drawing from this approach, this article seeks to contribute to the study of the aesthetics and counter-cultures via analysing a specific cinematic self-reflexivity that is born out of the interconnectedness of low-budget material conditions and the subcultural environments. The contention is that Pedro Almodóvar’s first feature film Pepi, Luci, Bom y otras chicas del montón (1980), embodi
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Holmes, Diana. "Dancing in the Dark: Immersion and Self-Reflexivity in Nancy Huston's Danse noire." Nottingham French Studies 57, no. 3 (2018): 298–310. http://dx.doi.org/10.3366/nfs.2018.0226.

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Nancy Huston's Danse noire (2014) is a formidably complex novel: multilingual, composed throughout of three connected but separately told stories, highly self-reflexive in its intra-diegetic presentation of the narrative as film scenario and its use of capoeira as framing device and analogy. Some critics and readers have found this intricate structure excessive and confusing. This article, on the other hand, situates the novel within Huston's distinctive project as a contemporary French novelist who is as committed to immersive story-telling as she is to self-aware celebration of narrative for
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Jahraus, Oliver. "Der fatale Blick in den Spiegel – Zum Zusammenhang von Medialität und Reflexivität." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 2 (2010): 87–99. http://dx.doi.org/10.28937/1000106170.

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Der Beitrag untersucht den Zusammenhang von Reflexivität und Medialität (das, was ein Medium zum Medium macht), indem er die Idee der Reflexion an den konkreten Formen von Spiegelungen in Literatur und Film wie zum Beispiel Doppelgänger oder Figurenspaltungen darstellt. Dabei zeigt sich, daß jedes Medium autoreflexiv verfasst ist und daß die Vorstellung von Subjektivität seit dem 18. Jahrhundert selbst auf diesem Zusammenspiel von Reflexivität und Medialität beruht. Das Subjekt gilt demnach als reflexiver Effekt der Medialität, wie es an einer Betrachtung von Foucaults berühmter Meninas-Interp
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Bene, Adrián. "Intermediality and Reflexivity in Andrzej Żuławski’s Fidelity." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 181–93. http://dx.doi.org/10.1515/ausfm-2015-0022.

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Abstract The paper focuses on a characteristic of Andrzej Zulawski’s aesthetics which has been ignored by most of the critics who emphasized the impact of surrealism and the taste for provocation in his cinema. Meanwhile, the œuvre’s French period is obviously characterized by self-reflexivity and media-reflexivity, autobiographical and literary background references. In these film dramas, the topic of love, beauty and artistic values are interconnected with a sophisticated narrative strategy using intermediality and intertextuality in a complex way. In Fidelity (La Fidelité, 2000), Żuławski p
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Chin, Su-Mee. "Jeon Woochi: The Taoist Wizard as a Film of Self‐Reflexivity : Focusing on the Media Reproduction." Cine forum 26 (April 30, 2017): 239. http://dx.doi.org/10.19119/cf.2017.04.26.239.

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9

Chen, Hazel Shu. "Acoustically Embodied." Prism 18, no. 1 (2021): 114–37. http://dx.doi.org/10.1215/25783491-8922217.

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Abstract In 1950s and early 1960s Hong Kong, radio permeated in everyday life as a major source of entertainment and information. It subsequently gave rise to a peculiar genre in Cantonese cinema, film adaptations of “airwave novels” (tiankong xiaoshuo dianying 天空小說電影), which flourished in Hong Kong and Southeast Asia. According to the records of the Hong Kong Film Archive, from 1949 to 1968 there were ninety-three film adaptations of radio novels and dramas. Besides drawing the historical contours of the radio-film network in the postwar colonial city, this article studies two exemplary radio
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10

Zitzelsberger, Florian. "The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis." Humanities 8, no. 2 (2019): 99. http://dx.doi.org/10.3390/h8020099.

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This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanne
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Jaehyung JUNG. "Meanig of Self-Reflexivity or Reflexion in Modern Cinema - On Hong, Sang-Soo's Film Virgin Stripped Vare by Her Bachelors." Contemporary Film Studies 11, no. 3 (2015): 473–98. http://dx.doi.org/10.15751/cofis.2015.11.3.473.

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Võsu, Ester, and Alo Joosepson. "Staging national identities in contemporary Estonian theatre and film." Sign Systems Studies 33, no. 2 (2005): 425–72. http://dx.doi.org/10.12697/sss.2005.33.2.09.

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This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, and the relevance of culture-based national identity. Herein we conside
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Pieldner, Judit. "The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi’s Films." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (2018): 103–23. http://dx.doi.org/10.1515/ausfm-2018-0006.

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Abstract In close intratextual connection with earlier pieces of Jafar Panahi’s oeuvre, pre-eminently The Mirror (Ayneh, 1997) and Offside (2006), his recent films made in illegality, including This Is Not a Film (In film nist, Jafar Panahi and Mojtaba Mirtahmasb, 2011), Closed Curtain (Pardeh, Jafar Panahi and Kambuzia Partovi, 2013) and Taxi Tehran (Jafar Panahi, 2015), reformulate the relationship between cinema and the “real,” defying the limitations of filmmaking in astounding ways. The paper addresses the issue of non-cinema, pertaining to those instances of cinematic “impurity” in which
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Gardner, Colin. "The Losey–Moscow Connection: Experimental Soviet Theatre and the Living Newspaper." New Theatre Quarterly 30, no. 3 (2014): 249–68. http://dx.doi.org/10.1017/s0266464x14000499.

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Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in t
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Wilson, Sherryl, Su Holmes, John R. Cook, and Janet McCabe. "Reviews: Talking with Television: Women, Talk Shows, and Modern Self-Reflexivity, it's the Pictures That Got Small: Hollywood Film Stars on 1950s Television, Troy Kennedy Martin, Jack Rosenthal, the Honeymooners." Critical Studies in Television: The International Journal of Television Studies 5, no. 2 (2010): 171–82. http://dx.doi.org/10.7227/cst.5.2.19.

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Francis, Terri. "Structural Laughter and Constructed Intimacies: The Self-Reflexivity of Cheryl Dunye." Film Quarterly 72, no. 2 (2018): 45–54. http://dx.doi.org/10.1525/fq.2018.72.2.45.

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This interview focuses on Cheryl Dunye's views of the industry from her current position in prestige television, working as a director for Ava DuVernay and Oprah Winfrey's Queen Sugar (OWN, 2016–). The forward-looking conversation concentrates less on Dunye's past films but rather on the work she is doing today in episodic television, her creative process, and her legacy for future generations of media makers. By asking Dunye about her upbringing and early influences, I sought a renewed sense of the groundbreaking filmmaker as a person beyond the characters and constructed intimacies she prese
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Lippert, Florian. "Public self-reflection in the context of the European migrant crisis: Towards a new transdisciplinary model of discourse analysis in politics, media and the arts." Journal of European Studies 49, no. 3-4 (2019): 336–53. http://dx.doi.org/10.1177/0047244119859173.

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While the European migrant crisis is omnipresent in political and medial discourses, two of its key causes are only seldom addressed by politicians and journalists: mistakes in Europe’s domestic, foreign and development policies; and Eurocentric, clichéd or ill-informed press coverage on migration. What impedes such political and medial self-criticism? What happens if politicians or journalists publicly address their own mistakes? Creative culture, in turn, has a long tradition of public self-reflexivity. In the wake of the crisis, many literary texts and films self-critically reflect on the l
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Lian, Hongping. "Positionality and Power: Reflexivity in Negotiating the Relationship Between Land-Lost Farmers and the Local Government in China." International Journal of Qualitative Methods 18 (January 1, 2019): 160940691986450. http://dx.doi.org/10.1177/1609406919864508.

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Reflexivity has gained a vital role in qualitative research. Distinct from the extant global literature that explores reflexivity conceptually or practically, gaps are found in China studies and the Chinese literature, where the discussion of reflexivity remains in the conceptual realm while falling short of practical terms. Doing reflexivity entails the self-reflection of the researcher as well as the reflection of the research participants. This article aims to deal with the following questions: What are the respective positions of the researcher and the research participants, and how do the
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Kubota, Ryuko. "Fostering Antiracist Engagement in Japanese Language Teaching." Japanese Language and Literature 54, no. 2 (2020): 347–57. http://dx.doi.org/10.5195/jll.2020.133.

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Japanese language teaching and learning is influenced by various types of human diversity. Diversity of gender, language, and culture are often addressed in learning materials, instructional practices, and professional discussions in the field. Yet, issues of race are often glossed over in everyday pedagogical practices and professional discourses on equity, diversity, and inclusion. To fill this gap, this article will focus on issues of race and introduce key concepts—race and ethnicity, racism, intersectionality, and new racism—by drawing on some examples from the survey results presented by
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Nilsson, Mats, and Mekonnen Tesfahuney. "The post-secular tourist: Re-thinking pilgrimage tourism." Tourist Studies 18, no. 2 (2017): 159–76. http://dx.doi.org/10.1177/1468797617723467.

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The coming of post-secular society has opened up interesting transdisciplinary research and perspectives. Research and academic debates on the post-secular have yet to make inroads into the discipline of tourism studies, which is ironic since there is an intrinsic religiosity to tourism. We table that tourism lies at the core of the post-secular turn and should be studied as such. Likewise, academic debate on post-secularism has not accorded tourism its proper due. This study has two objectives. First, to fill the research gap in studies of tourism and post-secularism and, second, to show that
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Tylchyk, Vyacheslav, and Viktor Leschynsky. "PUBLIC AND LEGAL RELATIONS AS A SPHERE OF JUDICIAL PROTECTION OF VIOLATED RIGHTS, FREEDOMS, AND INTERESTS." Baltic Journal of Economic Studies 7, no. 2 (2021): 219–23. http://dx.doi.org/10.30525/2256-0742/2021-7-2-219-223.

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The role of legal relations in legal science cannot be overestimated, especially given the expansion of the boundaries of the subject of administrative law, which leads to the need to rethink its content. Legal relations can be defined as a kind of phenomenon that is a sign of a systemic connection and includes law in its subjective and objective sense. This is due to the fact that the law without legal relations loses its practical meaning, even in the case of certain material leverage. An important statement in the context of scientific research is that law is a real element of public life o
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Gupta PhD, Sangeeta. "Self-reflexivity and the Representation of The Indian Diasporic Community in Deepa Mehta’s Bollywood/Hollywood." Addaiyan Journal of Arts, Humanities and Social Sciences, June 21, 2021, 76–85. http://dx.doi.org/10.36099/ajahss.3.6.6.

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This paper discusses Deepa Mehta’s lighthearted romantic comedy Bollywood/Hollywood as a representation of the Indian diasporic community settled in Canada. What makes this film especially interesting is that it focuses on how, for overseas Indians, Bollywood offers the possibility of accessing the home culture in a globalised world. Bollywood as an industry is synonymous with the genre of family melodrama, and when Mehta uses this term it represents, not just the Bombay Film Industry, but also the cultural iconicity of the genre, which in turn represents the film sensibility of the entire ‘ma
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Hartzheim, Bryan Hikari. "Making of a Mangaka: Industrial Reflexivity and Shueisha’s Weekly Shônen Jump." Television & New Media, September 6, 2019, 152747641987213. http://dx.doi.org/10.1177/1527476419872132.

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Behind-the-scenes disclosures, a staple of film and television production, have extended to the visible documentation of manga (comics) and anime (animation) production in Japanese media. This article examines manga “industrial reflexivity, using as a case study publisher Shueisha’s most popular periodical, the best-selling shônen (boys) manga magazine, Shûkan Shônen Jump ( Weekly Shônen Jump). Jump’s documentary-like portrayals of the manga production process have bled out from the magazine in “exclusive” footage that takes viewers on behind-the-scenes tours exploring Shueisha offices or mang
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Vanden Bossche, David. "Translating ritual into film – Notes on Paul Henley’s ‘spirit, possession, power, and the absent presence of Islam: re-viewing Les Maîtres Fous’." Afrika Focus 30, no. 2 (2018). http://dx.doi.org/10.21825/af.v30i2.8068.

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In his 2006 article for the Journal of the Royal Anthropological Institute, ‘Spirit Possession, power, and the absent presence of Islam: re-viewing Les Maîtres Fous’ (Henley, 2006, pp 731-62), Paul Henley gives an in-depth analysis and re-examination of the seminal classic “Les Maîtres Fous” by the late French film director Jean Rouch. One of the most striking elements in the text is the rift Henley detects between what he calls ‘Rouch The Author’ and ‘Rouch The Film-Maker’. The article goes to great lengths in its analysis of possible new viewing angles for the anthropological material at h
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Calbreath-Frasieur, Aaron. "Transmedia Muppets: The Possibilities of Performer Narratives." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 5, no. 2 (2012). http://dx.doi.org/10.31165/nk.2012.52.70.

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This article examines how the Muppets franchise engages with transmedia narratives, their stories moving fluidly between television, film, comics, the internet and more. Rather than highlight the complexity Henry Jenkins (2006), Elizabeth Evans (2011) and others associate with transmedia, an examination of the Muppets offers insight into a mechanism that allows for simpler coherent connection between texts. The Muppets’ ongoing performer narrative challenges the prevailing understanding of transmedia storytelling. As performative characters (singers, actors, performance artists), any text conc
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Rutherford, Anne. "Ten Canoes and the Ethnographic Photographs of Donald Thomson: ‘Animate Thought’ and ‘the Light of the World’." Cultural Studies Review 18, no. 1 (2011). http://dx.doi.org/10.5130/csr.v18i1.1827.

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This article explores the genesis of the film Ten Canoes in the photographs taken by anthropologist Donald Thomson, in Arnhem Land, in the 1930s. Thomson’s images profoundly informed the look and content of the film, and the paper traces this genealogy in order to identify a ‘cultural imaginary’ at work in the film. I argue that a close study of Thomson’s original photographs reveals an approach to photography and to culture that dramatically exceeds the boundaries of the detached anthropological/scientific gaze. Thomson’s vision is a highly tactile one. His images are as much an encounter wit
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Meakins, Felicity, and Kate Douglas. "Self." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1979.

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Me? "I" am everywhere. The 'self' permeates contemporary culture. Through capitalist individualism and conservative politics, 'self' must be considered first above the needs of the group - "looking after no. 1". In therapeutic, religious and consumerist discourses of self-improvement, self-help or self-actualisation, 'self' is obscured; an entity which needs to be sought and found, changed or accommodated, an entity which one needs to become "in touch with". Within these permutations "self" carries the assumption of its own existence, as either a stable, unchanging entity or as a contextually
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Bolton, Michael C. "Cumming to an End." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2398.

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In finding patriarchal oppression in linear narratives, early Second Wave feminist writers like Hélène Cixous, Julia Kristeva, and Luce Irigaray opposed biologically based Freudian theories that claimed the feminine was grounded in a certain essence of male-ness and female-ness. Cixous’ advocacy of écriture féminine includes her critique of traditional narrative, which she claims is structured by a sexual opposition that “has always worked for man’s profit to the point of reducing writing . . . to his laws” (883). Specifically in terms of cinema, the focus of this paper, Laura Mulvey finds sim
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Molnar, Tamas. "Spectre of the Past, Vision of the Future – Ritual, Reflexivity and the Hope for Renewal in Yann Arthus-Bertrand’s Climate Change Communication Film "Home"." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.496.

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About half way through Yann Arthus-Bertrand’s film Home (2009) the narrator describes the fall of the Rapa Nui, the indigenous people of the Easter Islands. The narrator posits that the Rapa Nui culture collapsed due to extensive environmental degradation brought about by large-scale deforestation. The Rapa Nui cut down their massive native forests to clear spaces for agriculture, to heat their dwellings, to build canoes and, most importantly, to move their enormous rock sculptures—the Moai. The disappearance of their forests led to island-wide soil erosion and the gradual disappearance of ara
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Iocco, Melissa. "Whom do you fight?" M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2144.

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David Fincher’s Fight Club (1999) is an extraordinary film that explores an often-violent intersection between the conditions of late-capitalist consumer society and contemporary masculine identities. Through examining examples of “fighting” in Fight Club, the article will discuss male bonding through homosocial (and somewhat homophobic) relations, and the blurring of “good versus evil” by an examination of problematised male subjectivity and representations of “inner” conflict. The article’s title “whom do you fight?” reminds us of a particularly powerful message in Fight Club about the worki
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Furnica, Ioana. "Subverting the “Good, Old Tune”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2641.

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 “In the performing arts the very absence of a complete score, i.e., of a complete duplicate, enables music, dances and plays to survive. The tension created by the adaptation of a work of yesterday to the style of today is an essential part of the history of the art in progress” (Rudolf Arnheim, “On Duplication”). In his essay “On Duplication”, Rudolf Arnheim proposes the idea that a close look at the life of adaptations indicates that change is not only necessary and inevitable, but also increases our understanding of the adapted work. To Arnheim, the most fruitful approa
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Mesch, Claudia. "Racing Berlin." M/C Journal 3, no. 3 (2000). http://dx.doi.org/10.5204/mcj.1845.

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Bracketed by a quotation from famed 1950s West German soccer coach S. Herberger and the word "Ende", the running length of the 1998 film Run Lola Run, directed by Tom Tykwer, is 9 minutes short of the official duration of a soccer match. Berlin has often been represented, in visual art and in cinematic imagery, as the modern metropolis: the Expressionist and Dadaist painters, Walter Ruttmann, Fritz Lang and Rainer Werner Fassbinder all depicted it as the modernising city. Since the '60s artists have staged artworks and performances in the public space of the city which critiqued the cold war o
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Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi
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Cadwallader, Jessica Robyn. "Like a Horse and Carriage: (Non)Normativity in Hollywood Romance." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.583.

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IntroductionTwo recent romantic comedies—Friends with Benefits and Friends with Kids—seek to re-situate the cultural logics of marriage by representing that supposed impossibility: the friendship between people of different sexes. These friendships are chosen as the site for particular kinds of intimacy—sex, in one case, and parenting in another—through a rejection or disenchantment with the limitations of heteronormative approaches to relationships. This initial, but of course not final, rejection of the investment in romance is obviously not entirely unheard of in the genre of romantic comed
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Rizzo, Sergio. "Adaptation and the Art of Survival." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2623.

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 To use the overworked metaphor of the movie reviewers, Adaptation (2002)—directed by Spike Jonze and written by Charlie Kaufman—is that rare Hollywood flower, a “literary” film that succeeds both with the critics and at the box office. But Kaufman’s literary colleagues, his fellow screenwriters whose opinions are rarely noticed by movie reviewers or the public, express their support in more interesting terms. Robert McKee, the real-life screenwriter and teacher played by Brian Cox in the movie, writes about Kaufman as one of the few to “step out of screenwriting anonymity
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Brabazon, Tara. "A Red Light Sabre to Go, and Other Histories of the Present." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1761.

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If I find out that you have bought a $90 red light sabre, Tara, well there's going to be trouble. -- Kevin Brabazon A few Saturdays ago, my 71-year old father tried to convince me of imminent responsibilities. As I am considering the purchase of a house, there are mortgages, bank fees and years of misery to endure. Unfortunately, I am not an effective Big Picture Person. The lure of the light sabre is almost too great. For 30 year old Generation Xers like myself, it is more than a cultural object. It is a textual anchor, and a necessary component to any future history of the present. Revelling
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Rintoul, Suzanne. "Loving the Alien." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2408.

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In a 2003 Rolling Stone review of David Bowie’s 1972 concept album The Rise and Fall of Ziggy Stardust and the Spiders From Mars, one critic looks back and argues that “[the creation of] Ziggy was a shrewd move because it presented Bowie, the fledgling artiste, as an established rock star.” Bowie’s shrewdness, the author muses, lies in the fact that he created in Ziggy “rock’s first completely prepackaged persona,” and inscribed it over his own. Whether or not Ziggy was indeed the first such persona (one asks oneself if all celebrities are not, to a degree, prepackaged personae), Bowie’s self-
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Muntean, Nick, and Anne Helen Petersen. "Celebrity Twitter: Strategies of Intrusion and Disclosure in the Age of Technoculture." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.194.

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Being a celebrity sure ain’t what it used to be. Or, perhaps more accurately, the process of maintaining a stable star persona isn’t what it used to be. With the rise of new media technologies—including digital photography and video production, gossip blogging, social networking sites, and streaming video—there has been a rapid proliferation of voices which serve to articulate stars’ personae. This panoply of sanctioned and unsanctioned discourses has brought the coherence and stability of the star’s image into crisis, with an evermore-heightened loop forming recursively between celebrity goss
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Rodan, Debbie. "Bringing Sexy Back: To What Extent Do Online Television Audiences Contest Fat-Shaming?" M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.967.

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The latest reality program about weight loss makeover, Australian Channel Seven’s Bringing Sexy Back maintained the dominant frame of fat as bad, shameful and unsexy. Similar to other programs’ point of view, only slim bodies could claim to be healthy and sexy. Conversely the Fat Acceptance movement presents fat as beautiful, sexy, and healthy. But what did online audiences in 2014 think about Bringing Sexy Back? In this article online-viewer-generated comments are analysed to find out: a) whether audiences challenged and contested the dominant framing; and b) what phrases did they use to do t
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Littaye, Alexandra. "The Boxing Ring: Embodying Knowledge through Being Hit in the Face." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1068.

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Boxing is a purely masculine activity and it inhabits a purely masculine world. […] Boxing is for men, and it is about men, and is men. (Joyce Carol Oates) IntroductionWriting about boxing is an intimate, private, and unusual activity. Although a decade has passed since I first “stepped into the ring” (sparring or fighting), I have not engaged with boxing in academic terms. I undertook a doctoral degree from 2012 to 2016, during which I competed and won amateur titles in three different countries. Boxing, in a sense, shadowed my research. My fieldwork, researching heritage foods networks, brou
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Bachmann, Goetz, and Andreas Wittel. "Enthusiasm as Affective Labour: On the Productivity of Enthusiasm in the Media Industry." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.147.

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Longing on a large scale is what makes history.Don DeLillo, UnderworldIntroductionWhile the media industries have been rather thoroughly dissected for their capacity to generate enthusiasm through well-honed practices of marketing and patterns of consumerism, any analysis of the shift underway to capture and modulate the ‘enthusiastic’ and affective labour of media industry practitioners themselves may still have much to learn by reaching back to the long tradition in Western philosophy: a tradition, starting with the Greeks that has almost always contrasted enthusiasm with reason (Heyd). To q
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Collins-Gearing, Brooke, Vivien Cadungog, Sophie Camilleri, et al. "Listenin’ Up: Re-imagining Ourselves through Stories of and from Country." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1040.

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This story not for myself … all over Australia story.No matter Aborigine, White-European, secret before,Didn’t like im before White-European…This time White-European must come to Aborigine,Listen Aborigine and understand it.Understand that culture, secret, what dreaming.— Senior Lawman Neidjie, Story about Feeling (78)IntroductionIn Senior Lawman Neidjie’s beautiful little book, with big knowledge, Story about Feeling (1989), he shares with us, his readers, the importance of feeling our connectedness with the land around us. We have heard his words and this is our effort to articulate our resp
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Hughes, Karen Elizabeth. "Resilience, Agency and Resistance in the Storytelling Practice of Aunty Hilda Wilson (1911-2007), Ngarrindjeri Aboriginal Elder." M/C Journal 16, no. 5 (2013). http://dx.doi.org/10.5204/mcj.714.

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In this article I discuss a story told by the South Australian Ngarrindjeri Aboriginal elder, Aunty Hilda Wilson (nee Varcoe), about the time when, at not quite sixteen, she was sent from the Point Pearce Aboriginal Station to work in the Adelaide Hills, some 500 kilometres away, as a housekeeper for “one of Adelaide’s leading doctors”. Her secondment was part of a widespread practice in early and mid-twentieth century Australia of placing young Aboriginal women “of marriageable age” from missions and government reserves into domestic service. Consciously deploying Indigenous storytelling prac
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Rahman, Mohmin. "Is Straight the New Queer?" M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2446.

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He is, surely, the only heterosexual male in the country who could get away with being photographed half-naked and smothered in baby oil for GQ and still come over as an icon of masculinity. (GQ October 2002. Article on Beckham as GQ’s Sportsman of the Year, 264) Indeed. Let us tear our thoughts away from the image of David basted in oil and consider the extract as one of innumerable examples of the media fascination with Beckham. Given his penetration in Europe, Asia, Latin America and Africa, we can take as self-evident that Beckham is a quantifiably significant figure in contemporary global
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Lohmeier, Christine. "Disclosing the Ethnographic Self." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.195.

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We are our own subjects. How our subjectivity becomes entangled in the lives of others is and has always been our topic. (Denzin 27)This article reflects on the process of disclosing the ethnographic self, particularly in relation to the use of e-mails and social networking sites, such as Facebook. Previous work has examined virtual ethnography as the main research method or its place within a mixed method approach (Orgad; Hine, Virtual Ethnography; Fay; Greschke). My focus lies on the voluntary and involuntary intertwining of physical ethnographic work (i.e. going to a specific location to im
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Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and
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Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret
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Stafford, Paul Edgerton. "The Grunge Effect: Music, Fashion, and the Media During the Rise of Grunge Culture In the Early 1990s." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1471.

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IntroductionThe death of Chris Cornell in the spring of 2017 shook me. As the lead singer of Soundgarden and a pioneer of early 1990s grunge music, his voice revealed an unbridled pain and joy backed up by the raw, guitar-driven rock emanating from the Seattle, Washington music scene. I remember thinking, there’s only one left, referring to Eddie Vedder, lead singer for Pearl Jam, and lone survivor of the four seminal grunge bands that rose to fame in the early 1990s whose lead singers passed away much too soon. Alice in Chains singer Layne Staley died in 2002 at the age of 35, and Nirvana fro
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Downing, Brenda, and Alice Cummins. "The Catastrophe of Childhood Rape: Traversing the Landscape between Private Memory and Public Performance." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.590.

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She lies helpless and fragmented, limbs leaden with story, forced ever further into herself by the viscous shame that suffocates and disables her. Fleshed lips cling to each other, tongue recoils from the sharp taste of the narrative of her body. Within the impotent portal of her mouth, her story sits, an impenetrable oral hymen. — Brenda DowningRape is, without doubt, a catastrophic experience.When rape is experienced in childhood and is also silenced, it can have devastating consequences that carry through to adulthood.In what ways then can the catastrophic memory of silenced childhood rape
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Esposito, Paola. "Thread: Somatic Lives of a Thing." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1062.

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IntroductionOn a sunny afternoon in early spring 2014, five researchers were strolling through the streets of Old Aberdeen. They had known each other for only a few days since an event had brought them together. The event was Performance Reflexivity, Intentionality and Collaboration: A Sourcing Within Worksession, convened by anthropologist Caroline Gatt and performer Gey Pin Ang, as part of the ERC Advanced Grant project “Knowing from the Inside,” at the department of Anthropology, University of Aberdeen. This workshop aimed to explore aspects of creative decision-making in performance to ass
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