From ‘Poetics’ to ‘Production’: Genres as Active Ingredients in Media Production

Alačovska, Ana

doi:10.1057/9781137541949_12

Cited by 3 publications

(2 citation statements)

References 24 publications

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“…Nevertheless, some scholars of cultural production and creative labour have already explored the ways in which genres serve, invisibly but potently, to gender producers’ experiences in cultural work, along with the gendered valorization and legitimation of forms of labour in cultural production (Alacovska, 2015b; Alacovska, 2015a; O’Brien, 2019). Genres such as travel writing and crime fiction, for example, which are traditionally structured around male poetics, aesthetics and value systems, have been found to discriminate against, exclude and delegitimize female producers as competent or successful workers in these genres (Alacovska, 2017).…”

Section: Reasserting Genre: From Reception To Cultural Production and Creative Industriesmentioning

confidence: 99%

Genres and inequality in the creative industries

Alačovska

O’Brien

2021

European Journal of Cultural Studies

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Genres organize and facilitate cultural, creative and media production and consumption but are rarely central categories in extant research on creative industries. With this editorial article, we aim to reassert, reassess and revisit the salience of genres for understanding inequalities in the cultural and creative industries. We argue that genres, as classificatory devices, structure and order a gendered and racialized division of labour and occupational practice. Genres sanction what is and what is not aesthetically and ethically appropriate to do and think within specific textual categories and, hence also, within genre-specific production cultures. Genres draw boundaries, shaping and normalizing the gendered and racialized professional values and norms that underpin unequal patterns of access, distinction and career advancement within creative occupations. Cultural producers, in turn, are compelled to forge professional genre identities at the same time as constantly having to negotiate their gender and racial fitness to work and prosper in specific categories of cultural production. The contributions to this special issue elucidate, through a plethora of methodological and theoretical approaches, the links between genres and persisting inequalities across the book, screen and music industries.

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Section: Reasserting Genre: From Reception To Cultural Production and Creative Industriesmentioning

confidence: 99%

Genres and inequality in the creative industries

Alačovska

O’Brien

2021

European Journal of Cultural Studies

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“…The femikrimi feud made visible the ways in which female writers have engaged with the professional heritage immanent in a masculine genre. Only when distressing events happen in a field of production do the unarticulated rules and habitualities of behaviour, which remain taken for granted and concealed in periods of 'normalcy', become observable (Latour and Woolgar, 1979;Alacovska, 2015b). The femikrimi feud intensified and so made transparent the otherwise implicit impact of a gendered genre on female struggle for recognition, self-definition and selfcreation.…”

Section: Anxiety Of Authorship: 'Crime Fiction Shouldn't Ooze Menstrumentioning

confidence: 99%

The gendering power of genres: How female Scandinavian crime fiction writers experience professional authorship

Alačovska

2017

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This article introduces the notion of genre as an analytical category for the study of gender inequality in creative work. Research on gender and creative labour typically identifies external, systemic and structural causes for gender inequality in media industries. In contrast, I argue that genres, by virtue of their internal, structural and discursive patterning, play a constitutive role in regulating media producers’ gendered professional identities, shaping their struggle for recognition and structuring their economic sustainability. Rather than being merely outcomes of production processes, genres shape gender inequality: They possess gendering power that influences how media producers work, think and feel. Gendering and gendered genre norms that privilege ‘masculine’ over ‘female’ values are so hard-wired in occupational practice and professional codes of conduct that the genre itself becomes a control and boundary ascription mechanism that implicitly governs, sustains and reproduces gendered identity formation, career aspirations and biographical standing. Drawing on in-depth interviews with female producers of Scandinavian crime fiction, globally branded as Nordic Noir, I examine how female writers in Denmark have coped with and experienced the gendering effect of the genre in which they work and to which they are financially beholden. I also tease out the ways in which crime fiction, a masculine genre, causes anxiety of authorship and affects female producers’ identity and boundary work. This focus on the gendering power of genres may potentially help us understand the gender disparities in media industries – disparities that endure despite efforts at policing fair access and equal opportunity.

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From Nordic Noir to Euro Noir: Nordic Noir Influencing European Serial SVoD Drama

Hansen¹

2020

Nordic Noir, Adaptation, Appropriation

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From ‘Poetics’ to ‘Production’: Genres as Active Ingredients in Media Production

Cited by 3 publications

References 24 publications

Genres and inequality in the creative industries

Genres and inequality in the creative industries

The gendering power of genres: How female Scandinavian crime fiction writers experience professional authorship

From Nordic Noir to Euro Noir: Nordic Noir Influencing European Serial SVoD Drama

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