The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
DOCUMENT
Uitleg van narratieve reflectie en verhalen vertellen in de klas. Studenten hebben vaak moeite om te zien dat hun klas een ware opslagplaats van verhalen is. Het blijkt dat ‘de zoektocht’ en ‘het monster overwinnen’ de meest voorkomende verhaalpatronen te zijn. De taak van de begeleiders zal zijn deze beide motieven in de les te laten terugkomen, varianten ervan te behandelen en vooral kansen op succes te bieden, zowel voor de groep als voor de individuele leerling.
DOCUMENT
During the Middle Ages and early modern period, a dramatic culture of astonishing vitality developed in the Low Countries. Owing to the activities of organisations known as rederijkerskamers, or "chambers of rhetoric", drama became a central aspect of public life in the cities of the Netherlands. The comedies produced by these groups are particularly interesting. Drawing their forms and narratives from folklore and popular ritual, and entertaining in their own right, they also bring together a range of important concerns; they respond directly to some of the key developments in the period, reflecting the political and religious turmoil of the Reformation and Dutch Revolt, the emergence of humanism, and the appearance of an early capitalist economy. This collection brings together the original Middle Dutch text of ten of these comic plays, with facing translation into modern English. The selection is divided evenly between formal stage-plays and monologues, and provides a representation of the full range of rederijker drama, from the sophisticated Farce of the Fisherman, with its sly undermining of audience expectation, to the hearty scatology of A Mock-Sermon on Saint Nobody, and the grim gallows humour of The Farce of the Beggar. An introduction and notes place the plays in their context and elucidate difficulties of interpretation.
DOCUMENT
Savinien de Cyrano, better known as Cyrano de Bergerac, was born on 6 March 1619 in Paris, Rue des Deux Portes, later renamed Rue Dussoubs. Son of Abel de Cyrano, a lawyer, and Esperance Bellenger. He died on 26 July 1655 at the age of thirty-six in Sannois.
DOCUMENT
The report from Inholland University is dedicated to the impacts of data-driven practices on non-journalistic media production and creative industries. It explores trends, showcases advancements, and highlights opportunities and threats in this dynamic landscape. Examining various stakeholders' perspectives provides actionable insights for navigating challenges and leveraging opportunities. Through curated showcases and analyses, the report underscores the transformative potential of data-driven work while addressing concerns such as copyright issues and AI's role in replacing human artists. The findings culminate in a comprehensive overview that guides informed decision-making in the creative industry.
MULTIFILE
De directe aanleiding voor het onderzoek naar festivalbeleving in 2009 was een vraag van de organisatie van het festival Highlands in Amersfoort aan het Crossmedialab. Men wilde weten hoe bezoekers het festival ervoeren en waardeerden. Dit sloot ook aan bij de onderzoekslijn naar de invloed van sociale media in verschillende contexten waarvan de festivalcontext er een van was. In de jaren daarna zijn door het Crossmedialab vergelijkbare empirische onderzoeken uitgevoerd bij Appelpop, Festival de Beschaving en Gluren bij de Buren. Dit rapport poogt een gedetailleerd verslag te geven van het onderzoek naar festivals dat in de jaren 2009-2012 werd uitgevoerd. Het bevat ook een gedetailleerde verslaglegging van de analyse van de resultaten. Hoewel het als een onafhankelijk rapport kan worden gelezen, kan het tevens worden gezien als een uitgebreide appendix van het CELL cahier Festivalbeleving (Van Vliet et al 2012).
DOCUMENT
Audience studies is not the vibrant field it was in its 1980s and early 1990s heyday. Cultural studies today has a more balanced interest in production, audiences and texts. A renewed focus in audience studies on everyday meaning production, identity and relations of power could benefit from recent developments. Theorization of power especially has benefited from recent work on governmentality. In accord with recent work on ‘affect’, there is an opportunity for renewed vitality and urgency. Was audience studies damaged beyond repair by the charge that it is a populist field that celebrates rather than interrogates everyday media culture? Could a concept such as cultural literacy provide a bridge to help re-establish the critical credibility of audience studies or would it burden this field with its implied notions of standards, distinction and cultural exclusion? The article discusses recent work with youth audiences to inquire into the possibilities of ‘critical literacy’. It proposes taking up questions and insights raised by affect theory, to merge appreciation, criticism and understanding of the forces that drive (the possibility of) change, and to embed critical literacy in cultural studies’ ongoing interest in the construction of (cultural) citizenship.
MULTIFILE
Sport kan net als kunst, muziek en kleding ook worden gezien als een maatschappelijk verschijnsel dat inzicht geeft in de hedendaagse cultuur. Verborgen competitie belicht juist deze kant van de sport. Hierbij staan eenvoudige vragen centraal die velen interesseren, maar waaraan nog maar weinigen aandacht hebben besteed. Waarom behoort American football tot de populairste sporten van de Verenigde Staten, is China een tafeltennisbolwerk, Nederland een schaatsland en Nieuw-Zeeland een rugbynatie? Waarom wordt voetbal wereldwijd massaal beoefend en kent korfbal alleen in ons land een grote populariteit? Maarten van Bottenburg beschrijft de verspreiding en popularisering van ongeveer dertig sporten over de hele wereld in de afgelopen honderd jaar en biedt de lezer daarmee een mondiaal sportpanorama. Door het lezen van Verborgen competitie krijgt u meer inzicht in de mondialisering van de hedendaagse cultuur en in de wijze waarop mensen zich door hun sportvoorkeuren aan anderen binden of zich van hen onderscheiden.
DOCUMENT
At this critical moment in time, April 2020, when we are living with the cataclysmic event of Covid-19, television – a medium declared almost dead at the beginning of this millennium – has become a vital resource for solace, daydreaming, social ritual, knowledge and storytelling. In conditions of lockdown, we turn towards television, not away from it (Ellis, 2020; Negra, 2020). We are checking news on national channels, and tuning to live broadcasting for campaigns to help the health services and communities in need, such as with the globally broadcast One World: Together At Home special. We are curling up on the sofa to engage with gripping drama, like Ozark streaming on Netflix, re-watching favourite series from the beginning, such as Buffy or Breaking Bad, and taking part in television quiz shows like Pointless, even watching repeats, to recreate a pub quiz atmosphere in the living room. On a darker note, we are also overloaded with corona news; the ritual evening news bulletin can be a source of anxiety and a cause of sleeplessness. Television infrastructure can break down, from broken satellite dishes to lost remote controls, which are tricky to fix when technicians are not so readily available to help; and television can be an economic burden. The cost of streaming Breaking Bad can push the limits of monthly contracts and data packages. Television both lightens and darkens the mood of domestic spaces and social relations in lockdown culture.
MULTIFILE
