Media and Cosmopolitanism

Yilmaz, Aybige; Trandafoiu, Ruxandra; Mousoutzanis, Aris

doi:10.3726/978-3-0353-0663-7

2015

DOI: 10.3726/978-3-0353-0663-7

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Media and Cosmopolitanism

Aybige Yilmaz¹,

Ruxandra Trandafoiu

Aris Mousoutzanis

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‘Cinema as a common activity’

Özdüzen

2020

JLP

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This paper is concerned with the ways in which mediating spaces like film festivals function as alternative public spheres when social movements escalate, arguing that the Istanbul International Film Festival and Documentarist right before, during and following the Gezi protests turned into politically and socially inclusive spaces for marginalised groups in Turkey. To account for how audiences and organisers aimed to transform these mediating spaces into socially inclusive and heterogeneous outlets during the Gezi protests, the paper relies on an audience ethnography in the sites of these film festivals from 2013 until 2017 including participant observation, go-alongs and in-depth interviews with audiences, film crews and organizers. Although the spaces of these two film festivals functioned differently, the article shows that film festival spaces generally transformed into cosmopolitan outlets in Istanbul in this period, opening room for a dialogue between marginalised and dominant groups, which was fed by social movements

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‘Cinema as a common activity’

Özdüzen

2020

JLP

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Moulding Cultural Capital into Cosmopolitan Capital

Lindell

Danielsson

2017

Nordicom Review

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Various media allow people to build transnational networks, learn about the world and meet people from other cultures. In other words, media may allow one to cultivate cosmopolitan capital, defined here as a distinct form of embodied cultural capital. However, far from everyone is identifying this potential. Analyses of a national survey and in-depth interviews, conducted in Sweden, disclose a tendency among those in possession of cultural capital to recognise and exploit cosmopolitan capital in their media practices. Those who are dispossessed of cultural capital are significantly less liable to approach media in this way. Relying on various media practices in order to reshape one's cultural capital exemplifies what Bourdieu called a reconversion strategy. As social fields undergo globalisation, media offer opportunities for the privileged to remain privileged -to change in order to conserve.

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Street Food Latinoamérica: Contribución de Netflix a la construcción de los imaginarios cosmopolitas y transnacionales

Félix

2022

GMJ_M

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Entre 2019 y 2020 Netflix incursionó en el género de la comida callejera mediante dos series documentales, dedicadas respectivamente a Asia y Latinoamérica. Ambas producciones se sumaron al catálogo que la plataforma distribuye en más de 180 países, y a un género presente en los medios de comunicación tradicionales y digitales. A diferencia de estos contenidos, Netflix imprimió a sus producciones un rasgo cosmopolita, producto del carácter transnacional que ha caracterizado a la expansión de la empresa. Este artículo presenta los resultados de un análisis del discurso multimodal realizado a los seis documentales sobre comida callejera en Latinoamérica, explorando su contribución a la construcción de los imaginarios transnacionales y cosmopolitas característicos de estas aventuras gastronómicas. El trabajo consta de cuatro partes. En la primera se presenta la construcción de la transnacionalización, que da pie a la construcción de los imaginarios; la segunda ofrece una caracterización del documental en el marco de la construcción de las representaciones simbólicas. La tercera parte presenta el análisis del discurso multimodal y su aplicación al objeto de estudio. La última parte incluye las conclusiones del análisis, acompañadas de una reflexión sobre el papel de Netflix en la construcción de los imaginarios transnacionales y cosmopolitas.

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Media and Cosmopolitanism

Cited by 3 publications

References 0 publications

‘Cinema as a common activity’

‘Cinema as a common activity’

Moulding Cultural Capital into Cosmopolitan Capital

Street Food Latinoamérica: Contribución de Netflix a la construcción de los imaginarios cosmopolitas y transnacionales

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