Archives par mot-clé : media studies

Parution : Fan Phenomena: Disney (dir. Sabrina Mittermeier)

Sabrina Mittermeier (dir.), Fan Phenomena: Disney, Intellect Books, 2022. 

Fan Phenomena: Disney collects essays on Disney fans, spanning a variety of media (such as film, television, novels, stage productions and theme parks) and different fannish approaches (cosplay, fan art), as well as the company’s reactions to them.

It is a timely intervention that deals with crucial issues such as race and racism within the Disney fandom and in Disney texts, the role of queerness, the impact of the Covid-19 pandemic and the advent of the streaming service Disney+.

The authors come from variety of disciplines, such as cultural and media studies, marketing and communications, cultural history or theatre and performance studies, and include both leading experts in fan and Disney studies, as well as emerging voices in these fields, plus interviews with fan practitioners.

It will be popular with scholars of cultural studies, cultural history, media studies, fan studies; Disney fans, and students at any level.

Dr Sabrina Mittermeier is a postdoctoral researcher and lecturer in American cultural history at the University of Kassel, Germany, the author of A Cultural History of the Disneyland Theme Parks (Intellect 2021), and the co-editor of Fighting for the Future: Essays on Star Trek: Discovery (2020), as well as The Routledge Handbook of Star Trek (2022).

Continuer la lecture de Parution : Fan Phenomena: Disney (dir. Sabrina Mittermeier)

Séminaire LPCM – Séance 2 : « Gender et médias » (Pôle Métiers du livre de Saint-Cloud/en ligne)

Séminaire LPCM – Séance 2 : « Gender et médias » (Pôle Métiers du livre de Saint-Cloud/en ligne)

Date : Vendredi 24 février, 16h-18h

Lieu : Pôle Métiers du livre de Saint-Cloud (salle de réunion, 2ème étage)

La séance sera également diffusée en ligne. Pour obtenir le lien de la réunion Teams et suivre à distance cet événement, merci de bien vouloir écrire à l’équipe organisatrice via l’adresse mail de contact : atelierlpcm@protonmail.com

Organisateurs·rices : Fanny Barnabé (Université de Namur), Marion Coste (CY Cergy Paris Université), Anaïs Goudmand (Sorbonne Université), Sarah Ghelam (Université Paris Nanterre), Aurélie Huz (Université Paris Nanterre), Alice Jacquelin (Université Paris Nanterre), Matthieu Letourneux (Université Paris Nanterre), Marc Vervel (Université Paris Cité)

Programme

  • Flavie Falais (Université de Limoges) : « Questionner la norme en contexte vidéoludique »

Flavie Falais proposera une présentation de ses recherches de thèse en cours, qui portent sur la question de la norme – plus spécifiquement de genre – dans le jeu vidéo et les cultures vidéoludiques. Elle réfléchira aux notions de disciplines et de méthodes, prenant en considération deux aspects : d’abord, celui de l’étude du jeu vidéo en tant qu’objet populaire et médiatique ; ensuite, l’étude des rapports de pouvoir, qui ne peut se faire de manière isolée, nécessitant de fait d’opter pour une approche à la fois interdisciplinaire et intersectionnelle. Ainsi, trois volets de réflexion seront abordés : d’abord, il s’agira de traiter la question de l’étude du jeu vidéo en lui-même, en tant que médium audiovisuel mobilisant de multiples champs disciplinaires. Ensuite seront interrogées les méthodes spécifiques à la mise en œuvre de cette étude tridimensionnelle et la manière d’articuler ses différentes réalités, notamment en termes de sources et d’archives à mobiliser, afin de présenter un ensemble cohérent. Enfin, la question du point de vue et de la posture de chercheuse à adopter face à un sujet relevant de l’intime et des usages politiques du jeu vidéo sera abordée.

  • Marine Thomas (Université de Lille) : « Exhumer les masculinités ‘mises en cases’ via la mobilisation d’outils issus de l’ethnographie, de l’analyse de discours et de la sémiotique »

Durant cette communication, Marine Thomas présentera comment la construction de l’ordre social peut être analysée au sein d’un univers fictionnel en abordant ce dernier comme un terrain ethnographique, c’est-à-dire comme un univers social, avec ses groupes et ses individus (Beaud & Weber, 1998). Cette approche permet en effet d’envisager les personnages fictionnels comme de vrais acteurs du jeu social et d’analyser les relations qu’ils nouent entre eux au sein de leur société (Chalvon-Demersay, 2015). Pour ce faire, combiner l’observation directe (Arborio & Fournier, 2008), la sémiotique de la bande dessinée (Groensteen, 2011) et l’analyse de discours (Maingueneau, 2021), dans une démarche à la fois quantitative et qualitative, rend possible l’extraction d’informations signifiantes de cet univers « multicadre ». In fine, la mobilisation du schéma actantiel de Greimas (2002) peut permettre de faire émerger la mécanique du système des masculinités opérant chez les actants d’un volume de ce medium tout en laissant un espace aux fluctuations et aux contradictions traversant cette fabrique du genre grâce au travail mené dans le journal de terrain.

 

Répondante : Laetitia Biscarrat (Université Côte d’Azur)

Présentation générale du séminaire

Le séminaire de recherche mensuel de la LPCM vise à favoriser les rencontres et les échanges entre les chercheur·se·s qui se spécialisent dans l’analyse des cultures populaires et médiatiques, quel que soit leur ancrage disciplinaire (littérature, sciences de l’information et de la communication, sociologie, histoire, économie, musicologie, humanités numériques…) et leur objet d’étude (littérature, bande dessinée, littérature jeunesse, cinéma, séries télévisées, productions transmédiatiques, musique, jeux vidéo, jeux, figurines, images…). 

Le séminaire aura lieu le vendredi de 16h à 18h, à l’exception des séances partagées avec le séminaire Phistem (séances 1 et 5). Il se tiendra sous une forme co-modale et nomade : chaque séance sera diffusée en visioconférence, tout en laissant la possibilité aux intervenant·e·s et aux auditeur·rice·s qui le souhaitent de se rendre sur place dans l’université dans laquelle elle se déroulera. 

Nous encourageons les participant·e·s à adhérer à la LPCM :

https://lpcm.hypotheses.org/adherer-a-lassociation

 

Appel à contributions : Screens. Rhetorics of (dis)connection (Université de Milan)

Conference : Screens. Rhetorics of (dis)connection

30th November-2nd December 2022, University of Milan

Deadline for submission of abstracts: 30th June 2022

Given their increased presence in everyday life, screens have sparked new interest and lead to new considerations inside the academia (see M. Carbone, Schermi/Screens 2014). Because of this, media archaeologist Erkki Huhtamo suggested the creation of a new area of study called screenology, focused on screens as “information surfaces” (2006). The history of screens, as Huhtamo himself argues, has always lingered between reality and imagination, the physical and the intangible, the concrete and the theoretical. Therefore, these objects may, after careful examination, be considered intermedial bridges that favour the exchange between cultures, words, voices, faces and images (see ibid.).

Screens as objects have a complex nature as the semantic evolution of the word suggests and, as a matter of fact, the term presents itself as polysemic in a variety of languages. In Italian, for example, the Treccani dictionary lists several meanings: the first, mainly literary, is that of “shield”, to be understood literally and figuratively; a one is that of “device” which prevents something from expanding through space (for example, radiations); and the third is “surface”, on which pictures and words are shown.

Francesco Casetti, a semiologist, has centred his most recent studies around screens and reassures us about the overlap of meanings, arguing that “the idea of a shielding and covering surface adds to that of another surface which allows to sense what is behind it. The latter then embraces representations of new worlds, and can finally contain figures reflecting our personality” (Casetti 2014, our translation). At this point Casetti wonders whether or not all of this may still be called communication (see ibid.). This is, of course, a provocation and it gives birth to our desire to investigate the mechanisms behind these complex (concrete and abstract) objects in various interactional contexts, also linguistic, translatological, didactic, literary, and cultural. Screens create and implicate the presence of a space between all the parties involved, a space that can be enlarged or restricted through the use of different types of rhetoric. While on the one hand, they create protection, impediments, and blockage, on the other, screens also allow the creation of new relations and, at times unprecedented, connections. Continuer la lecture de Appel à contributions : Screens. Rhetorics of (dis)connection (Université de Milan)

Parution : Les Superhéros. Que sont nos héros devenus ?

Frédérique Toudoire-Surlapierre, Sébastier Hubier (dir.), Les Superhéros. Que sont nos héros devenus ?, Le Murmure, 2021. 

Héritier syncrétique du vengeur masqué, du vigilante et du détective de hard boiled, un nouveau type de personnages a émergé avec la postmodernité avant d’étendre son influence dans notre hypermodernité : le super-héros. Dans le sillage des célèbres analyses d’Umberto Eco, de Claude Lalumière ou de Mark Shainblum, les auteurs de ce volume s’attachent à l’étude des nouveaux modes d’expression héroïques au cinéma, dans les romans, les comics, les roman-graphiques, les séries télévisées, la culture gaming et autres nouvelles médiatisations culturelles. Alors que le parcours initiatique des personnages d’antan correspondait surtout à une « consolation héroïque » (Ivanhoe de Walter Scott, Les Trois Mousquetaires, Le Comte de Monte-Christo d’Alexandre Dumas et même, d’une certaine façon, Ulysses de Joyce), nos héros contemporains sont avant tout des héros masqués, jouant et rejouant sans cesse leur existence pour prouver leur grandeur d’âme aussi bien que leur hyper-puissance technique et technologique. Leurs pouvoirs sont certes souvent surnaturels – ils sont, surtout, littéralement anormaux ; et ils ont disséminé dans les fictions d’aujourd’hui sous des formes si variées et si changeantes qu’ils n’est possible de les analyser que dans une perspective transdisciplinaire confrontant et articulant des disciplines académiques ET non-académiques – seule manière de cerner la complexité du monde actuel postpop, postcolonialiste, poststructuraliste, postféministe, postmarxiste, postapocalyptique, posthumaniste et, indéniablement, postlittéraire. Que sont donc nos héros devenus ? C’est cette question qu’abordent les auteurs de ce volume croisant, outre la littérature comparée, les sciences politiques et les champs de la théorie générique et fictionnelle, les fameuses studies : ethnic studies, women’s/ feminist studies, cultural studies, science & technology studies, gender & queer studies, media studies et, bien sûr, cartoon studies.

Continuer la lecture de Parution : Les Superhéros. Que sont nos héros devenus ?

Parution : Trans New Wave Cinema (A. Ford)

Akkadia Ford, Trans New Wave Cinema, Routledge, 2021

Presentation

This book presents a critical cultural study of the Trans New Wave as a cinematic genre and explores its emergence in the twenty-first century.

Drawing on a diverse range of texts, the cultural, social, aesthetic and ethical implications of the genre are placed within the context of rapidly changing understandings of gender diversity. From the cinematic borderlands of independent film festivals to wider public recognition via digital technologies, the genre encompasses a diverse range of texts from short films, documentaries, experimental films, to feature films and narratives that range across life histories, narratives and themes. The book presents transliteracy as an original theoretical approach to reading film representations of the Trans New Wave, and combines it with a new theoretical concept of cinematic ethnogenesis to investigate how the genre emerged from specific communities and the reciprocal interaction of audiences and texts.

This interdisciplinary volume engages with contemporary issues of gender diversity, transgender studies, screen and media studies and film festival studies, and as such will be of great interest to scholars working in these fields and in media and cultural studies more generally.

Continuer la lecture de Parution : Trans New Wave Cinema (A. Ford)

Parution : Trauma & Memory. The Holocaust in Contemporary Culture (dir. Christine Berberich)

Christine Berberich (ed.), Trauma & Memory. The Holocaust in Contemporary CultureRoutledge, 2021. 

Over the past decades, the memory of the Holocaust has not only become a common cultural consciousness but also a cultural property shared by people all over the world. This collection brings together academics, critics and creative practitioners from the fields of Holocaust Studies, Literature, History, Media Studies, Creative Writing and German Studies to discuss contemporary trends in Holocaust commemoration and representation in literature, film, TV, the entertainment industry and social media.

The essays in this trans-disciplinary collection debate how contemporary culture engages with the legacy of the Holocaust now that, 75 years on from the end of the Second World War, the number of actual survivors is dwindling. It engages with ongoing cultural debates in Holocaust Studies that have seen a development from, largely, testimonial presentations of the Holocaust to more fictional narratives both in literature and film. In addition to a number of chapters focusing in particular on literary trends in Holocaust representation, the collection also assesses other forms of cultural production surrounding the Holocaust, ranging from recent official memorialisation in Germany to Holocaust presentation in film, computer games and social media. The collection also highlights the contributions by creative practitioners such as writers and performers who use drama and the traditional art of storytelling in order to keep memories alive and pass them on to new generations.

The chapters in this book were originally published as a special issue of Holocaust Studies: A Journal of Culture and History.

Parution : The Cultural Impact of RuPaul’s Drag Race. Why Are We All Gagging?

Cameron Crookston (dir.), The Cultural Impact of RuPaul’s Drag Race (Book)
Why Are We All Gagging?, Intellect, 2021. 

The Cultural Impact of RuPaul’s Drag Race is a collection of original material that goes beyond simple analysis of the show and examines the profound effect that RuPaul’s Drag Race has had on the cultures that surround it: audience cultures, economics, branding, queer politics and all points in between. What was once a cult show marketed primarily to gay men, Drag Racehas drawn both praise and criticism for its ability to market itself to broader, straighter and increasingly younger fans. The show’s depiction of drag as both a celebrated form of entertainment and as a potentially lucrative career path, has created an explosion of aspiring queens in unprecedented numbers and has had far-reaching impacts on drag as both an art form and a career.

Contributors include scholars based in the United Kingdom, the United States, Canada and South Africa.  The contributions are interdisciplinary, as well as international.  The editor invited submissions from scholars in theatre and performance studies, English literature, cultural anthropology, media studies, linguistics, sociology and marketing.  What he envisaged was an examination of the wider cultural impacts that RuPaul’s Drag Race has had.  What he received was a rich and diverse engagement with the question of how Drag Race has affected local, live cultures, fan cultures, queer representation and the very fabric of drag as an art form in popular cultural consciousness.

Continuer la lecture de Parution : The Cultural Impact of RuPaul’s Drag Race. Why Are We All Gagging?

Parution : Manifest Destiny 2.0. Genre Trouble in Game Worlds

Sara Humphreys, Manifest Destiny 2.0. Genre Trouble in Game Worlds, University of Nebraska Press, 2021. 

At a time when print and film have shown the classic Western and noir genres to be racist, heteronormative, and neocolonial, Sara Humphreys’s Manifest Destiny 2.0asks why these genres endure so prolifically in the video game market. While video games provide a radically new and exciting medium for storytelling, most game narratives do not offer fresh ways of understanding the world.

Video games with complex storylines are based on enduring American literary genres that disseminate problematic ideologies, quelling cultural anxieties over economic, racial, and gender inequality through the institutional acceptance and performance of Anglo cultural, racial, and economic superiority. Although game critics and scholars recognize how genres structure games and gameplay, the concept of genre continues to be viewed as a largely invisible power, subordinate to the computational processes of programming, graphics, and the making of a multimillion-dollar best seller.

Investigating the social and cultural implications of the Western and noir genres in video games through two case studies—the best-selling games Red Dead Redemption (2010) and L.A. Noire (2011)—Humphreys demonstrates how the frontier myth continues to circulate exceptionalist versions of the United States. Video games spread the neoliberal and neocolonial ideologies of the genres even as they create a new form of performative literacy that intensifies the genres well beyond their originating historical contexts. Manifest Destiny 2.0 joins the growing body of scholarship dedicated to the historical, theoretical, critical, and cultural analysis of video games.

Sara Humphreys is an assistant teaching professor of English at the University of Victoria.

Continuer la lecture de Parution : Manifest Destiny 2.0. Genre Trouble in Game Worlds

Parution :

Colin Jon Mark Crawford, Netflix’s Speculative Fictions. Financializing Platform Television, Lexington Books, 2020. 

Netflix’s Speculative Fictions: Financializing Platform Television argues that Netflix’s scaled expansion has hinged upon its ability not only to create, but more importantly to communicate, new forms and flows of potential value in platform capitalism, wherein capital is mobilized not only from direct revenue streams but also the new value assigned to inputs and investments of data, debt, attention, behavior, taste, time, sociality, and speculation. To interpret and critique these new communications and projections of value, Colin Jon Mark Crawford performs a discursive analysis of the platform television industry leader Netflix and its ‘investor lore’: the multi-sited narrative of value found in the company’s investor relations materials and corporate communications, such as letters to shareholders, financial earnings reports, executive interviews, press releases, and blog posts. Netflix best represents the increasingly ubiquitous nexus of culture, tech, and finance industries that is platform television. To better understand the emergent financial logics of this relatively new media industry, we must first understand the speculative narratives and discourses of value which organize it. Scholars of media studies, television studies, technology studies, and economics will find this book particularly useful.

Colin Jon Mark Crawford is a PhD student in the Film and Moving Image program at Concordia University.

Parution : A European Television Fiction Renaissance. Premium Production Models and Transnational Circulation

Luca Barra, Massimo Scaglioni (dir.), A European Television Fiction Renaissance. Premium Production Models and Transnational Circulation, Routledge, 2020.

This book maps the landscape of contemporary European premium television fiction, offering a detailed overview of both the changes in the digital production and distribution and the emergence of specific national and transnational case histories.

Combining a media-production approach with a textual and audience analysis, the volume offers a complex, stratified, systemic view of ongoing aesthetic, sociocultural and industrial developments in contemporary European TV. With contributions from leading experts in the field, the book first offers an overview of the industrial, policy and cultural context for the renaissance of European television drama over the past decade, based on original comparative research. This research is then supported by case study chapters from the key contexts within which quality European television is being produced, offering a complex and complete picture of the industry’s strengths and limitations, its traditions and trends, its constraints and future perspectives.

A European Television Fiction Renaissance is a must-read book for TV scholars working across Europe and beyond in the areas of media studies, international communications and television studies, media industries studies, production studies, European studies, and media policy studies as well as for those with an interest in television drama, Netflix, globalisation, pay TV and on demand. Continuer la lecture de Parution : A European Television Fiction Renaissance. Premium Production Models and Transnational Circulation