No abstract

This article examines the potential for political or social change as part of postmodern cultural expression in consumer culture. Throughout the article, I discuss the way sociopolitical messages, circulating in contemporary culture, represent an interesting element in terms of their intertextual referencing and postmodern blurring. Postmodern aesthetic features merge commodifying, resistive, and identifying processes, which can enable sociopolitical messages to spread into new arenas of resistance and fly under the radar, so to speak. In particular, I claim that new forms of engagement in social media communication produce an alternative venue for politics—one created by neoliberalism itself. I explain that sociopolitical messages presented via postmodern aesthetics in consumer culture, particularly when circulated using social media, <em>can</em> function counter-hegemonically, even while using hegemonic structures to gain commercial success. With this, the potential for change can come about; power lies in the hands (or social media accounts) of consumers.&lt;

This article deals with how nature is articulated in public discourse, and more specifically how humans' relationship to nature is constructed via such articulations. Based on critical cultural analyses of ads presented in a Norwegian context, the article claims articulations of nature serve to a depoliticization of nature, which silence social differences and reduce environmental politics to individual moral action. Several rhetorical patterns of particular relevance to the articulation of nature are discussed, pointing out how disparate, sometimes conflicting, understandings of nature are rhetorically configured and aligned in ways that benefit a global market economy. There is a discursive distancing of nature and everyday life, even as nature remains valorized and very much central to national identity. This constrains citizens' political engagement and undermines understandings of how to govern nature.

In 2019, Disney released the animated film Frozen 2 and included depictions of Indigenous Sámi peoples, landscapes, and lifeways. Communication scholars have critiqued relationships between Disney and Indigenous cultures. However, with Frozen 2 Sámi consultants initiated a new mode of collaboration with Disney to combat cultural appropriation, linguistic erasure, and misrepresentations. This resulted in almost unanimously positive media praise by Sámi individuals and communities in Scandinavia. By drawing upon an Indigenous listening methodology, we articulate ways Sámi communities discuss the degree to which Disney's Frozen 2/Jikŋon 2 is a transformative agent (or not) in treatment of Indigenous communities in film. Jagis 2019 Disney almmustahtii animerejuvvon guhkes filmma Frozen 2, masa lei váldán mielde Sámi álbmoga, sin duovdagiid ja eallinvugiid govvemiid. Kommunikašuvnna dutkit leat guhká kritiseren Disney vuogi giehtadallat eamiálbmogiid kultuvrraid. Frozen 2 dahkama oktavuođas sámi ráđđeaddiid joavku álggahii guittotge ođđalágan vuogi bargat ovttas Disneyin. Ovttasbarggu ulbmilin lei dáistalit kultuvrralaš rievideami ja giela jávkama vuostá ja njulget dan boastto gova, man vuosttas Frozen attii sápmelaččain. Ovttasbargu oaččui goasii ovttamielalaš rámi medias sihke ovttaskas sámi olbmuin ja sámi servošiin. Geavahemiin vuogádaga, mainna gullat eamiálbmogiid mii buktit ovdan sámi servošiid oainnuid das, man olu Disney Frozen/Jikŋon 2 rievdada (dahje ii rievdat) dan mo eamiálbmotvuohta ja eamiálbmotservvodagat čájehuvvojit filmmas. Sámiid ulbmilin ovttasbarggu álggaheamis lei buktit sámi áššiid oidnosii, lasihit iežaset álbmoga olbmuid bargovejolašvuođaid, ja dahkat sámegielat Disneyfilmma skeaŋkan sámi mánáide.

This article addresses the methodological aspects of a multi-voiced, collaborative ethnographic research process, in particular how video can enhance and amplify this research endeavour. The authors illustrate and discuss how experimental filmic methodologies can help to capture processes of becoming in a collaborative research endeavour, both enabling the development and production of diverse empirical materials and enhancing the multivocality of research practices. Using explorations of the National Tourist Route towards Havøysund in northern Norway as our empirical context, we reflect on diverse engagements along the process, such as becoming aware how the camcorder becomes a member in the research team. The filmed material forms an entanglement where our explorations along the route, our cultural practices related to the northern landscape and diverse disciplinary practices come together. We address three main ways video contributed to our research process and the creation of research materials. First, we highlight how video enables the creation of empirical traces that can be used as research materials. Second, we explore how video can work for mobilisation of multivocal dialogues. Finally, we point out that video opens the way for integration of the sensual into the research process.