Producing mobility: visual narratives of the rural migrant worker in Chinese television

This paper employs literatures of mobility to explore the ways which rural migrant workers in China are represented publicly via television drama. Through an analysis of the popular serial Mingong, the paper examines the underlying politics of contemporary migration in China through three themes: the territorialisation of rural and urban spaces; the embodiment of boundaries via corporeal practices and subjectivities; and the politicisation of rural migrant desires. This analysis demonstrates the significance of television in crafting discursive understandings of mobility and migrants that are suffused with contemporary governmentalities of generating but also managing and excluding migration.     

Feminism and science in Masters of Sex

This article examines the fictional characterization of the real-life sex researchers and scientists William H. Masters and Virginia E. Johnson in the Showtime television program Masters of Sex (2013–2016). The historical Johnson had a complicated relationship with second-wave feminism: she disdained the movement and was interested primarily in improving heterosexual marriages and the sex lives of married couples. The Johnson character speaks in a language of postfeminism with minimal interest in collective action and broader social change. However, second-wave feminists later used her and Masters’ research in order to support their own beliefs about sexual autonomy and freedom, within and beyond marriage and heterosexuality. The television program demonstrates Johnson’s importance to both phases of her and Masters’ research—in the first phase, when they are based in a hospital and university environment, and in the second, when they establish their own research institute and raise funds directly from the clients that they serve. Johnson exemplifies postfeminist depictions of ambitious women in prestige television, her aim to have a successful career and marriage conflict, and while she is willing to compromise scientific values to serve her own goals, her male colleagues temper that ambition in service of “objective” science.     

自我他者化：边地影像的诗学过渡与平等悖论

“边地影像”是边疆少数民族民众纪录自身的非虚构创作。在朗西埃“可感性的分配”美学理论视野下，边地影像体现了题材选择的一视同仁和人性的解放，以平等维度的引入开拓了其艺术与政治价值。透过“自我他者化”的艺术操作，它改变边地的可感性的分配秩序。“客位视角”到“主位视角”和“参与拍摄”到“独立创作”的过渡所释放的乡野表达，成为评测其诗学力量的关键质素。同时，围绕“差异性”展开的影像再现常常导向“微小差异的自恋”,并在言语的过度中营造了某种“圣化构想”，进而使其差异政治悖论性地生成了新的可感性不平等。     

Using Cultivation Theory to Understand American College Students’ Perceptions of Arabs in the Media

Research has shown that Arab portrayals on television have an effect on viewers’ beliefs about Arabs in general. Based on questionnaire responses from 429 undergraduate students, this study sought to examine perceptions of Arabs on television. Results revealed that college students have predominantly antagonistic views about Arabs in general and on television. These findings suggest that television can affect the way college students view reality regarding Arabs and how these perceptions can perpetuate negative stereotypes.     

Mobilization by images: TV screen and mediated instant grievances in the Umbrella Movement

This article discusses the effects of the televised images of the use of tear gas on people participating in the Umbrella Movement. Although the role of the Internet and social media in political mobilization has been widely discussed, the importance of television cannot be overlooked. This article argues that the widely transmitted broadcasts of live images of the police firing tear gas into the protesting crowd generated “mediated instant grievances” in a substantial sector of the viewing public, thus contributing to the size and scale of the Umbrella Movement. The study reported here provides evidence for this argument by analyzing the results of a survey of protesters that were on site during the early stage of the movement (N = 969). The study sought to determine whether and how the television images were related to the participants’ political attitudes, reasons for participation, and views of self-mobilized actions. The findings showed that, in particular, mediated instant grievances motivated the participation of the “amateur protesters” in the movement.     

Television and the making of a transnational Alevi identity

ABSTRACT

Satellite broadcasting technologies contribute a great deal to interaction across national boundaries, and in this regard satellite television is significant in the construction of a transnational public sphere for the Alevi community in Turkey and abroad. This paper addresses the role of television in the making of that transnational Alevi identity. In particular, it focuses on the flow and the programme contents of Cem TV and Yol TV, two leading Alevi channels, to demonstrate how the transnational imagination of Alevi identity corresponds to different political understandings of Aleviness.     

建构区域文化认同的“影视叙事综合体”——以“京津冀协同发展”为视角

“京津冀区域协同发展”的历史机遇已然到来，而长期以来各成气象的文化形象影响了三地之间的融通和发展。打通文化根脉，营造共通的文化空间，建构区域文化认同，消解隔膜与屏障，是推动区域协同发展的当务之急。在大众传播时代，影视艺术是蕴藉文化，构建形象，传播共识的主要媒介类型。“影视叙事综合体”以影视艺术为传播载体，通过叙事行为、叙事故事、叙事话语、叙事反应等影视叙事功能建构区域文化认同的影像文化空间，提升区域文化形象，促进区域文化的融通和协同发展。     

Impression Management,Super PACs and the 2012 Republican Primary

Super Political Action Committees (PACs) are new organizations within American politics allowing for unlimited donations to candidate campaigns. Super PACs helped make the 2012 Republican primary the most well‐funded primary in American history. Both candidates and Super PACs spend much of their money on televised campaign ads. My study of the 2012 Republican primary expands existing literature concerning political impression management by examining advertising imagery in the era of Super PACs. I developed a typology of performance types from a qualitative content analysis of television advertisements for both candidates and Super PACs. The significance of Super PACs as they interact and overlap with the images of candidate ads calls for analysis of the changing front stage in the political realm.     

Documentarians,fair use,and free expression: changes in copyright attitudes and actions with access to best practices

This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy in and through practice. It assesses the changes in documentary production practice around clearance of copyrighted material since the creation of the Documentary Filmmakers' Statement of Best Practices in fair use in 2005. Fair use, an exotic and occasional feature of documentary film in 2004, has become well known and commonly employed. Creative options for filmmakers concerning the use of third-party material have dramatically improved with changes in norms after the issuing of the Statement. Attitudes about fair use are strongly associated with free expression and creative opportunity, and vary with experience. Where filmmakers have changed work because of copyright concerns, they themselves rather than any gatekeeper have made the decision to do so. Where change is associated with fair use, risk is a common concern. Newer filmmakers are more likely to support the use of copyrighted material to make new work, but less likely to know about fair use, and also more likely to have experienced takedowns online. Both education about and experience with fair use appear to have an effect on practice. Filmmakers continue to lack reliable information on the actual risk landscape, and about fair use on digital platforms.     

论艺术史的影视形状

艺术史纪录片开启了学术界与大众之间的知性之窗和审美之窗。优秀的艺术史纪录片是触及艺术本质的,是可以引发人对艺术与人生进行深刻思考的,并非只是赏心悦目的,光鲜亮丽的,甚至冠冕堂皇的。一个好的艺术史纪录片不论从立意、拍摄还是主持,都应该是率性的,是发自本真的情感流露。