Film Discourse on the Praised and Acclaimed: Reviewing Criteria in the United States and United Kingdom

Kersten, Annemarie; Bielby, Denise D.

doi:10.1080/15405702.2012.682931

Cited by 23 publications

(33 citation statements)

References 21 publications

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“…Content analyses of texts produced by critics show how aesthetic and critical discourses shape and legitimate attributions of cultural value (e.g. Baumann, 2007;Kersten & Bielby, 2012). Others have analyzed to what extent recognition in one institutional context meets with approval in others, thereby expressing consensual beliefs about cultural value (e.g.…”

Section: Institutional Recognition In the Transnational Literary Fieldmentioning

confidence: 99%

Institutional Recognition in the Transnational Literary Field, 1955–2005

2015

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Section: Institutional Recognition In the Transnational Literary Fieldmentioning

confidence: 99%

Institutional Recognition in the Transnational Literary Field, 1955–2005

2015

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“…Our strategy is to focus on two types of audiences that reward cultural producers -peers and critics. These audiences correspond to two distinct selection systems, each emphasizing different criteria to assign cultural legitimacy (Allen and Lincoln 2004;Kersten and Bielby 2012).…”

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confidence: 99%

Insiders, Outsiders, and the Struggle for Consecration in Cultural Fields

2014

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This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link Insiders, Outsiders and the Struggle for Consecration in Cultural Fields:A Core-Periphey Perspective ABSTRACT Building on recent research emphasizing how legitimacy depends on consensus among audiences about candidates' characteristics and activities, we examine the relationship between cultural producers' (candidates) position in the social structure and the consecration of their creative work by relevant audiences. We argue that the outcome of this process of evaluation in any cultural field, whether in art or science, is a function of (1) candidates' embeddedness within the field, and (2) the type of audience, i.e., peers vs. critics, evaluating candidates' work.Specifically, we hypothesize that peers are more likely to favor candidates who are highly embedded in the field while critics will not show such favoritism. We find support for these hypotheses in the context of the Hollywood motion picture industry. The theoretical implications of the results are discussed.

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“…Theories of "production of centrality" (see Janssen et al, 2008) and creative cities (Florida & Jackson, 2010) have emphasized how places of origin affect changes of success by having more or less attractive establishment climates due to available resources, relevant companies, and other facilities. Studies of popular culture have mapped how media critics shape the perception of cultural products in detail (Debenedetti, 2006;Schmutz et al, 2010;Kersten & Bielby, 2012). Our analysis of media attention in the digital age brings this literature together, as well as extends it theoretically with work on new media production and empirically with a more systematical account of the usage of social media by pop artists than previous studies.…”

Section: Introductionmentioning

confidence: 83%

The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention

Verboord

Noord

2016

Popular Communication

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Many authors have pointed to the internet's potential to increase connectivity across the world, which would imply an equalizing effect, yet few researchers have examined this. At the same time, the increasing usage of social media by popular culture celebrities for self-promotion has been signaled. We study the extent to which social media can reduce inequalities in mainstream media attention between artists from central cities in popular music production (e.g., New York, London) versus more peripheral cities. We distinguish between media attention by institutionally embedded music critics and lay users on the internet. The results show that artists coming from more central cities have higher chances to get attention in mainstream media-both by institutional critics and lay users-than artists from peripheral cities. Building a fan base on social media such as Facebook, Twitter, or MySpace can compensate for some of this inequality, but not for all of it. IntroductionRock 'n roll, and popular music in general, have traditionally been associated strongly with cities as loci of where new music is conceived, as is exemplified by the title of one of the earliest-and now classichistories of rock music: "The Sound of the City" (Gillett, 1970). Since then, scholars have shown how places matter in bringing together people (e.g., Connell & Gibson, 2003, 90ff;Lena, 2012), sounds and styles (Phillips, 2011), and businesses (Negus, 1992;Scott, 2000) to produce both artistically innovative and commercially viable music. However, the increasing popularity of the internet in the past decades has diminished the importance of geographical positioning. Or has it? A large body of authors has pointed to the internet's potential to increase connectivity across the world which would imply an equalizing effect (e.g., Anderson, 2006;Connell & Gibson, 2003), yet few authors have examined this. This article aims to study the extent to which various, different internet-based media 1 help reducing inequality between artists from central locations in popular music production versus more peripheral locations. More concretely, we examine how differences in mainstream media attention (both by institutional music critics and lay users) compare to pop artists' usage of social media (Facebook, MySpace, Twitter), and how this differs for artists of different geographical origin.It is evident that digitalization processes changed the structure and organization of the field of popular music significantly (e.g., Hesmondhalgh, 2012;Leyshon, 2009). The internet and especially social media platforms have made it easier to produce, disseminate, and consume popular music from all over the world (Baym & Ledbetter, 2009). This has led Wikström (2009, p. 10) to conclude that the current music industry is "characterized by high connectivity and little control; music is provided as a For the sake of readability we will also use the term "the internet" when we refer to internet-based media. However, we are aware that it is debatable whether the internet can b...

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Film Discourse on the Praised and Acclaimed: Reviewing Criteria in the United States and United Kingdom

Cited by 23 publications

References 21 publications

Institutional Recognition in the Transnational Literary Field, 1955–2005

Institutional Recognition in the Transnational Literary Field, 1955–2005

Insiders, Outsiders, and the Struggle for Consecration in Cultural Fields

The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention

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