Post-Industrial Cultural Criticism

Kammer, Aske

doi:10.1080/17512786.2015.1051371

Cited by 31 publications

(32 citation statements)

References 15 publications

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“…Der er således også lavet studier af kulturkritik i en digital tidsalder. Både Aske Kammers studie af amatør(kultur)kritikerens potentiale for kritik af kulturprodukter (Kammer, 2015) 2005kan måske tilbyde en forståelsesramme, idet begrebet forsøger at udvide den mere elitaere, litteraere off entlige sfaere til en kulturel off entlig sfaere, der også omfatter populaerkulturelle tekster og aff ektive kommunikationsformer samt prioriterer den personlige erfaring højere end hidtil. Imidlertid er det mest hensigtsmaessigt at understøtte disse med teoretiseringer, der kan rumme PewDiePies tvetydige rolle som verdens mest populaere youtuber og profi tmager af sine aktiviteter overfor hans selviscenesaettelse som "just a guy", som han selv formulerer det.…”

Section: Pewdiepie Og Kulturkritikunclassified

PewDiePie som kulturkritisk aktør – metakritik og konstruktionen af ’indie’

Nielsen

2018

MedieKultur

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Verdens mest populære youtuber PewDiePie har gentagne gange kritiseret både YouTube og de mainstreammedier, der begge har været med til at give han positionen som den mest populære youtuber nogensinde. Denne artikel er interesseret i at undersøge, hvordan PewDiePie forhandler sin position som youtuber, hvor han er afhængig af at fremstå troværdig og autentisk samtidig med, at hans relationer til sit publikum er økonomisk profitskabende. Artiklen trækker på teoretiske diskussioner om indieidealet, der med sin dialektiske forståelse af relationen mellem indiekulturprodukter og mainstreamkulturprodukter er med til at åbne for en læsning af PewDiePies håndtering af kritikken, han retter mod YouTube og mainstreammedierne. Yderligere adresserer artiklen også, om man kan tale om en nykonfiguration af indieidealet i kontekst af denne ekstremt kommercielle kultur.

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Section: Pewdiepie Og Kulturkritikunclassified

PewDiePie som kulturkritisk aktør – metakritik og konstruktionen af ’indie’

Nielsen

2018

MedieKultur

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“…Even though social and digital media are growing research fields, previous research has only to a limited extent focused on the interrelations between the cultural public sphere and non-organisational agents reviewing, commenting, and discussing diverse cultural topics. Kammer's contribution builds on his solid research in digital media and news on the Web (e.g., Kammer 2013), and in this article he analyses how post-industrial cultural journalism, on the one hand, constitutes "a vibrant, extensive and diverse field for public discussion" (Kammer 2015); on the other hand, his analysis shows that the contributing agents often have an academic background in the humanities, which may imply that the aesthetic paradigm is resurfacing and reinventing itself in a digital media culture, and that the amateur critic does not necessarily represent a de-professionalisation, as argued formerly by professional journal-ists and scholars (e.g., Hermida 2011; Örnebring 2008), but rather a re-professionalisation of cultural critique.…”

Section: New Inputs To Emerging Research On Cultural Journalism and Cmentioning

confidence: 99%

Cultural Journalism and Cultural Critique in a changing Media Landscape

Kristensen¹,

From²

2015

Journalism Practice

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This special issue addresses a topic of journalism studies that has previously been somewhat neglected but which has gained increasing scholarly attention since the mid-2000s: the coverage and evaluation of art and culture, or what we term "cultural journalism and cultural critique." In this introduction, we highlight three issues that serve to frame the study of cultural journalism and cultural critique more generally and the eight articles of this special issue more specifically: (1) the constant challenge of demarcating cultural journalism and cultural critique, including the interrelations of "journalism" and "critique"; (2) the dialectic of globalisation's cultural homo-genisation, on the one hand, and the specificity of local/national cultures, on the other; and (3) the digital media landscape seen in terms of the need to rethink, perhaps even redefine cultural journalism and cultural critique. KEYWORDS cultural critics; cultural critique; cultural journalism; digital journalism; digital media; news production Introduction: Cultural Journalism and Cultural Critique as Emerging Research Areas Politics, art, and culture have since the introduction of newspapers in Western societies been covered sideby-side by various and more or less critical writers, of which journalists were just one variety. However, journalism research has a long tradition of prioritising political journalism and news media, primarily as a political public sphere. Likewise, political journalism increasingly came to set the agenda in the newsrooms and in journalism education during the twentieth century. This political leaning in both research and practice is closely linked to the professional and normative ideal or ideology of Western journalism, an ideal that stipulates an autonomous, objective, and versatile press, performing the role of society's watchdog and addressing urgent events and issues of societal importance as a constituent element of democracy (e.g., Curran 2011; Deuze 2005). Thus in many ways the political bias is fully justified. One consequence, however, has been the neglect by scholars of the news media's coverage of "softer" issues such as art, culture, lifestyle, "life politics" (Giddens 1992), and the cultural public spherewhat we, in this special issue, term "cultural journalism." In much the same way, journalists covering these issues have consistently had to defend their work to their peers and the public (see Harries and Wahl-Jorgensen 2007; Hovden and Knapskog 2015). This scholarly inattention as well as the professional need for justification are striking in light of the fact that these topics have become increasingly important parts of news production during the twentieth century and are today covered intensively (e.g., Janssen, Kuipers, and Verboord 2008; Kristensen and From 2011). When occasionally addressed by scholars, these topics have typically been analysed in relation to political journalism. Political journalism has been viewed as the proper kind of journalism, "the real journalism" (Deuze 2005, 444), ...

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“…Re-examining a cultural product once it has been made available to the public, with the intention to judge whether it is good or bad, or to "criticize"-from the Greek verb krinein, "to decide"-is a central element in the formation of people's tastes and lifestyles (Wright, 2015). In the era of "post-industrial journalism" (Anderson, 2014) or "post-industrial criticism" (Kammer, 2015), re-confi gurations in the media economy and culture have led to a situation in which the people formerly known as the public have been able to produce opinions and evaluations of cultural products and make them publicly available. Some digital content creators, using digital platforms (e.g.…”

Section: Introductionmentioning

confidence: 99%

“…Previously, evaluations of cultural products by ordinary people in the cultural domain have taken the form of "amateur reviews", which refers to texts written by cultural enthusiasts in the review genre and published on digital platforms such as Rotten Tomatoes, Imdb and review blogs (Verboord, 2010(Verboord, , 2011(Verboord, , 2012(Verboord, , 2014Kammer, 2015;Steiner, 2010, Frey andSayad, 2015). Th e contrasting of amateur and professional texts implies that reviewing is a phenomenon that has been established by expert institutions in a topdown order.…”

Section: Introductionmentioning

confidence: 99%

Vernacular reviews as a form of co-consumption: The user-generated review videos on YouTube

Jaakkola

2018

MedieKultur

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Reviews of arts and culture are typically focused on legitimate forms of art rather than popular and consumer culture. Looking beyond such institutionalized reviews, this article inquires into the online-native, bottom-up forms of reviewing. The aim is to identify user-generated reviews of popular cultural objects, defined through the user reviewers’ position as cultural consumers and the size of their audiences. The objects of study are YouTube channels that include a regular output of review videos. First, the 5,000 most-subscribed channels are analysed to identify content creators who establish a relationship to cultural objects. Second, types of reviewing are identified, and the methods and boundaries of ‘vernacular reviewing’ are discussed. User-generated reviewing on YouTube presents a meta-practice related to cultural objects for young audiences that is marked by the use of hybrid genres, humour, irony and the idea of co-consuming, reflected in the concept of intramediation

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Post-Industrial Cultural Criticism

Cited by 31 publications

References 15 publications

PewDiePie som kulturkritisk aktør – metakritik og konstruktionen af ’indie’

PewDiePie som kulturkritisk aktør – metakritik og konstruktionen af ’indie’

Cultural Journalism and Cultural Critique in a changing Media Landscape

Vernacular reviews as a form of co-consumption: The user-generated review videos on YouTube

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