Media Spectacle

Kellner, Douglas

doi:10.4324/9780203166383

Cited by 422 publications

(216 citation statements)

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“…Such findings have pointed out the prominence of nationalist sentiments of proximity and difference in the voting process and have defied the nature of the festival as a space of openness and fairness. Far from forming the arena of a united Europe, the ESC seems to be a space for the dramatisation and symbolic articulation of existing political and national tensions (Kellner, 2003).…”

Section: Esc and National Belongingmentioning

confidence: 99%

Media events and cosmopolitan fandom: ‘Playful nationalism’ in the Eurovision Song Contest

Kyriakidou

Skey

Uldam

et al. 2017

International Journal of Cultural Studies

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Academic literature on media events is increasingly concerned with their global dimensions and the applicability of Dayan and Katz's (1992) theoretical concept in a post-national context. This paper contributes to this debate by exploring the Eurovision Song Contest as a global media event. In particular, we employ a perspective from 'inside the media event', drawing upon empirical material collected during the 2014 Eurovision final in Copenhagen and focusing on the experiences of fans attending the contest. We argue that the ESC as a media event is experienced by its fans as a cosmopolitan space, open and diverse, whereas national belonging is expressed in a playful way tied to the overall visual aesthetics of the contest. However, the bounded and narrow character of participation render this cosmopolitan space rather limited.

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Section: Esc and National Belongingmentioning

confidence: 99%

Media events and cosmopolitan fandom: ‘Playful nationalism’ in the Eurovision Song Contest

Kyriakidou

Skey

Uldam

et al. 2017

International Journal of Cultural Studies

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“…Under that situation, "the false reality is planned, fabricated and composited by media; it supplants the real experience of daily life, and hinders people's understanding of the truth". [7] Evolution of Self-portrait in Image Times Before Image Times, artists observed their bodies through the mirror, and then painted self-portraits, "If there is no mirror, there will be no real self-portraits. So historians should pay attention to the history of mirror making technique."…”

Section: Image Timesmentioning

confidence: 99%

Narcissus -- The Evolution of Self-portraits in Image Times

Yan¹

2017

Proceedings of the 2016 2nd International Conference on Education, Social Science, Management and Sports (ICESSMS 2016)

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Abstract. Self-portraits derive from portraiture. Initially, artists painted self-portraits to prove their identities; then, they used these paintings to show their unique personalities and life experiences. The psychological foundations of self-portraits are human's self-consciousness and their eternal pursuit of self-actualization. In Image Times, the popular and convenient image technology changes people's viewing patterns and the expressive forms of self-portraits.

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“…In many ways, the banning of homosexual propaganda in 2013 is a media spectacle (Kellner 2003), in the sense that it cannot be fully understood apart from its appearance in the media. On the obvious level, the law targets media content and is a reaction against queer visibility.…”

Section: Introductionmentioning

confidence: 99%

Banning “Homosexual Propaganda”: Belonging and Visibility in Contemporary Russian Media

Persson

2014

Sexuality & Culture

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ABSTRACT:This article investigates Russian mainstream media´s coverage of the 2013 legislation banning "propaganda for non-traditional sexuality". Inspired by theories on belonging, media and visibility, it reconstructs a dominant narrative representing non-heterosexuals as threatening the future survival of the nation, as imposing the sex-radical norms of a minority onto the majority, or as connected to an imperialistic West which aims to destroy Russia. This story, it is argued, functions as a hegemonic grammar regulating how non-heterosexuality is seen and heard in the public sphere. However, it is argued that sometimes the linearity and cohesiveness of the narrative breaks down, when things appear that do not fit this model of interpretation. The analysis illustrates how contestations of belonging in contemporary media are increasingly structured according to the logic of visibility: dominant actors attempt to regulate what can be seen and heard in the public sphere whereas oppositional actors attempt to establish their own visibility in the mediated space of appearance, putting forward alternative constructions of the nation and who belongs to it.

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Media Spectacle

Cited by 422 publications

References 0 publications

Media events and cosmopolitan fandom: ‘Playful nationalism’ in the Eurovision Song Contest

Media events and cosmopolitan fandom: ‘Playful nationalism’ in the Eurovision Song Contest

Narcissus -- The Evolution of Self-portraits in Image Times

Banning “Homosexual Propaganda”: Belonging and Visibility in Contemporary Russian Media

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