You play your part – participatory media and older women.

This chapter will examine participatory and collaborative production strategies that create opportunities for older women to participate in media production. It draws on practice-led research in participatory and community-based media in the Govan area of Glasgow, Scotland. In particular, it examines the production process of a participatory documentary I produced and directed with senior citizens who are members of the Govan Seniors Film Club, based at the Portal Arts Centre in Govan.You Play Your Part is a 20-minute documentary about campaigning women in and around Govan.

Tourism Media Dynamics: Narratives of the Nation-State

With the premise that the tourism promotional video “China, Forever” provides a crucial access to understanding how tourism engages in a wider circle of socio-culture formation, this dissertation research approaches tourism by examining communicative practices initiated by “China, Forever”. In doing so, it seeks to reveal two dialogues – firstly, between the discursive construction of tourism representational language and China’s nation-state ideology; secondly, between interpretations from overseas Chinese audiences and nation-state narratives delivered via the tourism media. In analyzing the first dialogue, this dissertation reveals that the pursuit of collective and monolithic national imagery has caused a representational violence – one that is committed by the nation-state ideology operated through the organization of tourism language. The very representational coercion itself, however, signifies the nature of tourism media as a vehicle mediating the global gaze and China’s self-representation; illuminating the fact that China’s nation-state building is only to be understood as deeply-grounded in the complexity of postcolonial politics. Furthermore, in a dialectic view, such finding consolidates the nature of “China, Forever” as a cultural product that actively exists as a component in the overall social fabric, co-creating a wider circle of culture politics together with other genres of media products; thus, calling for a more comprehensive understanding of tourism media at large. In the second approach, this dissertation seeks to understand how the tourism video “China, Forever” mediates the relationship between tourism narratives of the nation-state and overseas Chinese individuals; thus bridging together tourism media and ongoing life experiences of the audiences chosen. The analysis reveals that audiences’ interpretations heavily concentrate on resisting and fragmenting the hegemonic nation-state language in “China, Forever”. While some interviewees seek to decentralize the nation-state perspective from aspects of aesthetics, representational style, and representational subjects in “China, Forever” by incorporating their individual memories and past experiences, to some others, the over-polished glorification of China in the mediated tourism discourse is only coercive to China’s social realities experienced by the individual interviewees - the disheartening contrasts of poverty and affluence as well as other social inequalities. From the perspective of the audience group, the Chinese scholars and students at the University of Illinois interviewed for this dissertation research constitute a cohort of exiled audiences for the tourism video “China, Forever”. The audiences subject themselves to voluntary interpellation, a process in which they find themselves defending, negotiating, and resisting the nation-state representation of China – even though they are not its intended audience and have had no input into its production. Nevertheless, such process is one of identification, in which viewers articulate a subject position from which to speak of their own experiences, dilemmas and desires. The usefulness of tourism media discourse in mediating the nation-state narratives and the individual experience is amplified.

Viral Bodies: Uncontrollable Blackness in Popular Culture and Everyday Life

Viral Bodies: Uncontrollable Blackness in Popular Culture and Everyday Life maps rapidly circulated performances of Blackness across visual media that collapse Black bodies into ubiquitous “things.” Throughout my dissertation, I use viral performance to describe the uncontrollable discursive circulation of bodies, their behaviors, and the ideas around them. In particular, viral performance is employed to describe the complicated ways that (mis)understandings of Black bodies spread and are often transformed into common-sense beliefs. As viral performances, Black bodies are often made more visible, while simultaneously becoming more opaque. This dissertation examines the recurrence of viral performances of Blackness in viral videos online, film, and photography/images. I argue that viral performances make products that reinscribe stereotypical notions of Blackness while also generating paths of alterity—which contradict the normalized clichés and provide desirable possibilities for Black performance. Viral Bodies forges a new dialogue between visual and aural technologies, performance, and larger historic discourses that script Black bodies as visually (and sonically) deviant subjects. I am interested in how technologies complicate the re-presentation of images, ideas, and ideologies—producing a necessity for new decipherings of performances of Blackness in popular culture and everyday life.

How valuable is web 2.0 to music criticism? An investigation into the role of web 2.0 and social media in the reception of Benjamin Britten's operas

The internet is deeply integrated with many people's day to day lives, including that of musicians and musicologists. In this thesis, the impact of the internet on classical music criticism in the Web 2.0 age is examined. Using the examples of Britten's operas, Gloriana and Peter Grimes, an overview of their critical reception is examined, using printed reviews found in The Times since their premières, internet based reviews of two specific performances, and the reactions to these performances on Twitter. Theories of media behaviour including de Mul's view of the 'ludic self' are used in order to explain the content found in reviews in conjunction with citizen journalism, of which blogging is an extension. While there are some consistencies between the print reviews and those online, there are stylistic differences, and wider repercussions for the world of criticism in the wake of the democratisation of culture, as critics find their previously regarded authority obsolete to some. Music criticism is no longer the reserve of the musicologists

Cultural citizenship and its implications for citizenship education: Chinese university students’ civic experience in relation to mass media and the university citizenship curriculum

A growing body of research has argued that university citizenship curricula are inefficient in promoting civic participation, while there is a tendency towards a broader citizenship understanding and new forms of civic engagements and citizenship learning in everyday life. The notion of cultural citizenship in this thesis concentrates on media practices’ relation to civic expression and civic engagement. This research thus argues that not enough attention has been paid to the effects of citizenship education policy on students and students’ active citizenship learning in China. This thesis examines the civic experience of university students in China in the parallel contexts of widespread adoption of mass media and of university citizenship education courses, which have been explicitly mandatory for promoting civic morality education in Chinese universities since 2007. This research project raises significant questions about the meditating influences of these two contexts on students’ perceptions of civic knowledge and civic participation, with particular interest to examine whether and how the notion of cultural citizenship could be applied in the Chinese context and whether it could provide certain implications for citizenship education in China. University students in one university in Beijing contributed to this research by providing both quantitative and qualitative data collected from mixed-methods research. 212 participants contributed to the questionnaire data collection and 12 students took part in interviews. Guided by the theoretical framework of cultural citizenship, a central focus of this study is to explore whether new forms of civic engagement and civic learning and a new direction of citizenship understanding can be identified among university students’ mass media use. The study examines the patterns of students’ mass media use and its relationship to civic participation, and also explores the ways in which mass media shape students and how they interact and perform through the media use. In addition, this study discusses questions about how national context, citizenship tradition and civic education curricula relate to students’ civic perceptions, civic participation and civic motivation in their enactment of cultural citizenship. It thus tries to provide insights and identify problems associated with citizenship courses in Chinese universities. The research finds that Chinese university students can also identify civic issues and engage in civic participation through the influence of mass media, thus indicating the application of cultural citizenship in the wider higher education arena in China. In particular, the findings demonstrate that students’ citizenship knowledge has been influenced by their entertainment experiences with TV programs, social networks and movies. However, the study argues that the full enactment of cultural citizenship in China is conditional with regards to characteristics related to two prerequisites: the quality of participation and the influence of the public sphere in the Chinese context. Most students in the study are found to be inactive civic participants in their everyday lives, especially in political participation. Students express their willingness to take part in civic activities, but they feel constrained by both the current citizenship education curriculum in universities and the strict national policy framework. They mainly choose to accept ideological and political education for the sake of personal development rather than to actively resist it, however, they employ creative ways online to express civic opinions and conduct civic discussion. This can be conceptualised as the cultural dimension of citizenship observed from students who are not passively prescribed by traditional citizenship but who have opportunities to build their own civic understanding in everyday life. These findings lead to the conclusion that the notion of cultural citizenship not only provides a new mode of civic learning for Chinese students but also offers a new direction for configuring citizenship in China. This study enriches the existing global literature on cultural citizenship by providing contemporary evidence from China which is a developing democratic country, as well as offering useful information for Chinese university practitioners, policy makers and citizenship researchers on possible directions for citizenship understanding and citizenship education. In particular, it indicates that it is important for efforts to be made to generate a culture of authentic civic participation for students in the university as well as to promote the development of the public sphere in the community and the country generally.

Character, Audience Agency and Trans-Media Drama

Changes in the television industry with regards to the development of new media technologies are having a significant impact on audience engagement with television drama. This article explores how the internet is being used to extend audience engagement onto platforms other than the television set to the point where television drama should increasingly be reconsidered as trans-media drama. However audience engagement with the various elements of a trans-media drama text is complex. By exploring audience attitudes towards character in the British television series Spooks and its associated online games, this article argues that in an increasingly converged media landscape audiences transfer values between platforms. Consequently the audience's perception of control in relation to their engagement with a trans-media drama text such as Spooks becomes complicated with values associated with television proving key to their engagement with the same fictional world in the form of games.

MEDIA IN THE ERA OF GLOBALIZATION IN LATIN AMERICA

Terms like Internet, cyberspace, virtual reality, in short, globalization, have been frequently words for all of us, in recent years. This refers to the phenomenon that has shaken the people of this world. Are rapidly changing due to technological advances and complex levels reaching relations between countries, corporations, partnerships and people.The attempt to understand the phenomenon of globalization is compounded when we try to understand the term, coined by Marshall McLuhan.McLuhan was born in Edmonton, Alberta, Canada and studied at the Universities of Manitoba and Cambridge, the latter of which he received his degree of Doctor of Philosophy specializing in English Literature. He taught at the universities of Wisconsin and St. Louis and University of the Assumption and Saint Michael's College, University of Toronto, where he was director of the Center for Culture and Technology.Marshall McLuhan and B. R. Powers, wrote the play, The Village Global1. The universe has become a village is the future predicted for them in the 60's. Today reality has overtaken the theory. However, this phenomenon is presented in this work, so whimsical style reminiscent of Jules Verne, but does not clarify the content of the term. While we believe that in the past there were attempts; globalize these attempts were very different from what we understand by globalization. 

Screening Diversity: Women & Work in Twenty-First-Century Popular Culture

Screening Diversity: Women and Work in Twenty-first Century Popular Culture explores contemporary representations of diverse professional women on screen. Audiences are offered successful women with limited concerns for feminism, anti-racism, or economic justice. I introduce the term viewsers to describe a group of movie and television viewers in the context of the online review platform Internet Movie Database (IMDb) and the social media platforms Twitter and Facebook. Screening Diversity follows their engagement in a representative sample of professional women on film and television produced between 2007 and 2015. The sample includes the television shows, Scandal, Homeland, VEEP, Parks and Recreation, and The Good Wife, as well as the movies, Zero Dark Thirty, The Proposal, The Heat, The Other Woman, I Don’t Know How She Does It, and Temptation. Viewsers appreciated female characters like Olivia (Scandal), and Maya (Zero Dark Thiry) who treated their work as a quasi-religious moral imperative. Producers and viewsers shared the belief that unlimited time commitment and personal identification were vital components of professionalism. However, powerful women, like The Proposal’s Margaret and VEEP’s Selina, were often called bitches. Some viewsers embraced bitch-positive politics in recognition of the struggles of women in power. Women’s disproportionate responsibility for reproductive labor, often compromises their ability to live up to moral standards of work. Unlike producers, viewsers celebrated and valued that labor. However, texts that included serious consideration of women as workers were frequently labelled chick flicks or soap operas. The label suggested that women’s labor issues were not important enough that they could be a topic of quality television or prestigious film, which bolstered the idea that workplace equality for women is not a problem in which the general public is implicated. Emerging discussions of racial injustice on television offered hope that these formations are beginning to shift.

Rôle de la qualité des tapis de cellules endométriales en co-culture autologue sur le développement embryonnaire

Introduction : La fécondation in vitro est de mieux en mieux connue et en amélioration constante, cependant les taux d’implantation et de grossesse sont encore bas (environ 35% par fécondation in vitro). Un des enjeux de l’amélioration de la fécondation in vitro est le développement embryonnaire et l’implantation. Pour cela, la co-culture des embryons sur un tapis de cellules endométriales maternelles autologues peut être utilisée pour améliorer le développement embryonnaire (taux d’embryon se développant jusqu’à J5 : blastocyste) et l’implantation. L’objectif de l’étude est d’étudier le lien entre la qualité du tapis cellulaire et le développement embryonnaire. Matériel et méthodes : Cette étude est une sous analyse de l’essai clinique randomisé en double aveugle OvoGen, comparant le taux de blastulation et de grossesse dans deux groupes randomisés : le groupe étude, dans lequel les embryons se développent sur un tapis cellulaire endométrial maternel et le groupe contrôle, dans lequel les embryons sont cultivés dans du milieu conventionnel. Nous avons analysé la qualité des tapis cellulaire du groupe étude (confluence des cellules, taux de cellules épithéliales et vitalité des cellules stromales) par rapport au développement embryonnaire et au taux de grossesse. Résultats : 50 tapis de cellules endométriales maternelles et 291 embryons sur les puits ont été analysés de 2012 à 2015 à la clinique ovo (Montréal, Québec). La qualité des embryons n’était pas changée par la qualité des tapis (p=0,65 pour la confluence, p=0,25 pour le taux de glande et p=0,92 pour la viabilité des cellules). En revanche, le taux de grossesse augmentait quand la confluence diminuait (p=0,022) et lorsque la viabilité des cellules stromales augmentait (p=0,001). De plus, la qualité des tapis était dépendante de la date de la biopsie : la biopsie faite à J7 après l’ovulation permettait une meilleure qualité de puits (confluence augmentée, p=0,045, taux de glande augmenté p=0,004 et viabilité stromales augmentée p=0,001) que la biopsie faite à J5 post ovulation. Discussion : Aucune des nombreuses études sur la co-culture ne porte sur la qualité des tapis cellulaire. Il est intéressant de noter que le taux de grossesse augmente avec la diminution de la confluence et l’augmentation de la viabilité des cellules stromales dans les puits contenant les embryons transférés. Comme il a déjà été démontré, (1)le jour de la biopsie endométriale influe sur la qualité du tapis cellulaire en coculture et pour que celui-ci soit de bonne qualité, il faut que l’endomètre soit réceptif (après J19 du cycle). Conclusion : Nous avons montré que la qualité des tapis cellulaires dépendait du jour de la biopsie d’endomètre et que cette qualité pouvait influencer le bénéfice de la co-culture. Il serait intéressant d’étudier la réceptivité de l’endomètre au moment de la biopsie avant utilisation des cellules en co-culture pour optimiser la qualité du tapis cellulaire.

Veteranness : Representations of Combat-related PTSD in U.S. Popular Visual Media

Posttraumatic stress and PTSD are becoming familiar terms to refer to what we often call the invisible wounds of war, yet these are recent additions to a popular discourse in which images of and ideas about combat-affected veterans have long circulated. A legacy of ideas about combat veterans and war trauma thus intersects with more recent clinical information about PTSD to become part of a discourse of visual media that has defined and continues to redefine veteran for popular audiences. In this dissertation I examine realist combat veteran representations in selected films and other visual media from three periods: during and after World Wars I and II (James Allen from I Am a Fugitive from a Chain Gang, Fred Derry and Al Stephenson from The Best Years of Our Lives); after the Vietnam War (Michael from The Deer Hunter, Eriksson from Casualties of War), and post 9/11 (Will James from The Hurt Locker, a collection of veterans from Wartorn: 1861-2010.) Employing a theoretical framework informed by visual media studies, Barthes’ concept of myth, and Foucault’s concept ofdiscursive unity, I analyze how these veteran representations are endowed with PTSD symptom-like behaviors and responses that seem reasonable and natural within the narrative arc. I contend that veteran myths appear through each veteran representation as the narrative develops and resolves. I argue that these veteran myths are many and varied but that they crystallize in a dominant veteran discourse, a discursive unity that I term veteranness. I further argue that veteranness entangles discrete categories such as veteran, combat veteran, and PTSD with veteran myths, often tying dominant discourse about combat-related PTSD to outdated or outmoded notions that significantly affect our attitudes about and treatment of veterans. A basic premise of my research is that unless and until we learn about the lasting effects of the trauma inherent to combat, we hinder our ability to fulfill our responsibilities to war veterans. A society that limits its understanding of posttraumatic stress, PTSD and post-war experiences of actual veterans affected by war trauma to veteranness or veteran myths risks normalizing or naturalizing an unexamined set of sociocultural expectations of all veterans, rendering them voice-less, invisible, and, ultimately disposable.

Lucumí (Yoruba) Culture in Cuba: A Reevaluation (1830S -1940s)

The status, roles, and interactions of three dominant African ethnic groups and their descendants in Cuba significantly influenced the island’s cubanidad (national identity): the Lucumís (Yoruba), the Congos (Bantú speakers from Central West Africa), and the Carabalís (from the region of Calabar). These three groups, enslaved on the island, coexisted, each group confronting obstacles that threatened their way of life and cultural identities. Through covert resistance, cultural appropriation, and accommodation, all three, but especially the Lucumís, laid deep roots in the nineteenth century that came to fruition in the twentieth. During the early 1900s, Cuba confronted numerous pressures, internal and external. Under the pretense of a quest for national identity and modernity, Afro-Cubans and African cultures and religion came under political, social, and intellectual attack. Race was an undeniable element in these conflicts. While all three groups were oppressed equally, only the Lucumís fought back, contesting accusations of backwardness, human sacrifice, cannibalism, and brujería (witchcraft), exaggerated by the sensationalistic media, often with the police’s and legal system’s complicity. Unlike the covert character of earlier epochs’ responses to oppression, in the twentieth century Lucumí resistance was overt and outspoken, publically refuting the accusations levied against African religions. Although these struggles had unintended consequences for the Lucumís, they gave birth to cubanidad’s African component. With the help of Fernando Ortiz, the Lucumí were situated at the pinnacle of a hierarchical pyramid, stratifying African religious complexes based on civilizational advancement, but at a costly price. Social ascent denigrated Lucumí religion to the status of folklore, depriving it of its status as a bona fide religious complex. To the present, Lucumí religious descendants, in Cuba and, after 1959, in many other areas of the world, are still contesting this contradiction in terms: an elevated downgrade.

Rôle de la qualité des tapis de cellules endométriales en co-culture autologue sur le développement embryonnaire

Introduction : La fécondation in vitro est de mieux en mieux connue et en amélioration constante, cependant les taux d’implantation et de grossesse sont encore bas (environ 35% par fécondation in vitro). Un des enjeux de l’amélioration de la fécondation in vitro est le développement embryonnaire et l’implantation. Pour cela, la co-culture des embryons sur un tapis de cellules endométriales maternelles autologues peut être utilisée pour améliorer le développement embryonnaire (taux d’embryon se développant jusqu’à J5 : blastocyste) et l’implantation. L’objectif de l’étude est d’étudier le lien entre la qualité du tapis cellulaire et le développement embryonnaire. Matériel et méthodes : Cette étude est une sous analyse de l’essai clinique randomisé en double aveugle OvoGen, comparant le taux de blastulation et de grossesse dans deux groupes randomisés : le groupe étude, dans lequel les embryons se développent sur un tapis cellulaire endométrial maternel et le groupe contrôle, dans lequel les embryons sont cultivés dans du milieu conventionnel. Nous avons analysé la qualité des tapis cellulaire du groupe étude (confluence des cellules, taux de cellules épithéliales et vitalité des cellules stromales) par rapport au développement embryonnaire et au taux de grossesse. Résultats : 50 tapis de cellules endométriales maternelles et 291 embryons sur les puits ont été analysés de 2012 à 2015 à la clinique ovo (Montréal, Québec). La qualité des embryons n’était pas changée par la qualité des tapis (p=0,65 pour la confluence, p=0,25 pour le taux de glande et p=0,92 pour la viabilité des cellules). En revanche, le taux de grossesse augmentait quand la confluence diminuait (p=0,022) et lorsque la viabilité des cellules stromales augmentait (p=0,001). De plus, la qualité des tapis était dépendante de la date de la biopsie : la biopsie faite à J7 après l’ovulation permettait une meilleure qualité de puits (confluence augmentée, p=0,045, taux de glande augmenté p=0,004 et viabilité stromales augmentée p=0,001) que la biopsie faite à J5 post ovulation. Discussion : Aucune des nombreuses études sur la co-culture ne porte sur la qualité des tapis cellulaire. Il est intéressant de noter que le taux de grossesse augmente avec la diminution de la confluence et l’augmentation de la viabilité des cellules stromales dans les puits contenant les embryons transférés. Comme il a déjà été démontré, (1)le jour de la biopsie endométriale influe sur la qualité du tapis cellulaire en coculture et pour que celui-ci soit de bonne qualité, il faut que l’endomètre soit réceptif (après J19 du cycle). Conclusion : Nous avons montré que la qualité des tapis cellulaires dépendait du jour de la biopsie d’endomètre et que cette qualité pouvait influencer le bénéfice de la co-culture. Il serait intéressant d’étudier la réceptivité de l’endomètre au moment de la biopsie avant utilisation des cellules en co-culture pour optimiser la qualité du tapis cellulaire.

Free software and free culture in Higher Education: pipelines and workflows for creative purposes

OpenLab ESEV is a project of the School of Education of the Polytechnic Institute of Viseu (ESEV), Portugal, that aims to promote, foster and support the use of Free/Libre Software and Open Source Software, Open Educational Resources, Free Culture, Free file formats and more flexible copyright licenses for creative and educational purposes in the ESEV's domains of activity (education, arts, media). Most of the OpenLab ESEV activities are related to the teacher education and arts and multimedia programs, with a special focus on the later. In this paper, the project and some activities are presented, starting with its origins and its conceptual framework. The presented overview is intended as background for the examination of the use of Free/Libre Software and Free Culture in educational settings, specially at the higher education level, and for creative purposes. The activities developed with students and professionals generated pipelines and workflows implemented for different creative purposes, software packages used for different tasks, choices for file formats and copyright licenses. Finished and ongoing multimedia and arts projects will be presented as real case scenarios.