Why are popular representations so drawn upon?
Desire, sexuality, and the Other, evoking the phrase getting “a bit of the Other” as a way to speak about sexual encounter. Fucking is the Other. Displacing the notion of Otherness from race, ethnicity, skin-color, the body emerges as a site of contesta-tion where sexuality is the metaphoric Other that threatens to take over, consume.
- THE SPECTACLE OF THE 'OTHER' Stuart Hall Contents 1 INTRODUCTION 225 1.1 Heroes or villains? 226 1.2 Why does 'difference' matter? 234 2 RACIALIZING THE 'OTHER 239 2.1 Commodity racism: empire and the domestic world 239.
- The Spectacle of the Other- Stuart Hall Representing the Difference 'Myth' - Barthes Power + Media + Stereotypes.
- Title: hall-whites-of-their-eyes.pdf Created Date: 2442Z.
- View Homework Help - Hall from COMM 10 at University of California, San Diego. 223 THE SPECTACLE OF THE 'OTHER' Stuart Hall Contents INTRODUCTION 225 1.1 1 Heroes or villains? 226 1.2 Why does.
Where did popular figures and stereotypes come from?
How do we class ‘otherness’?
What is ‘other’?
These are all questions we should be asking ourselves.
Henrietta Lidchi looked at the Ethnographic museum (a national museum in Budapest, Hungary) and their project on “The West” from other cultures depict how the west live, racial and ethnic differences being prominent.
Maxtor onetouch software windows 10. These stereotypes typically have been found to come form commercial adverting and magazine illustrations since the late nineteenth century beginning with the competitive world of modern day bodily aesthetics.
In “The chemical Olympics” magazine, a lead story was based on “Drug taking in athletes” specifically talking about Ben Johnson, when he used drugs to enhance his performance. Looking at the picture above before you knew that information, you could say it’s message is; ‘A triumphant moment for Johnson’ however when you know its also captioned ‘heros and villians’, it changes the meaning. When you are more informed, it could suggest that no matter what colour or race you are, everyone is susceptible to being a villain OR hero.
At a devotive level the image is “a picture of the 100 metres race”, however on a connotative level or sub theme being the drug story is ‘race’ and ‘difference’. Having these 2 meanings gives the magazine the choice with what to play on, giving the image a ‘preferred meaning’.
Roland Barths (1977) argues that when you caption an image, the words are stuck with it. The discourse of the words and discourse of the image produce a ‘fixed’ meaning. Barths would specifically talk about the image of Johnson and call it a ‘meta-message’ or myth about race, colour and otherness because of what I have spoken about above with duel meaning.
Similarly Linford Christie won the 100 meters as well, while on the British team. Some where racial to him, arguing he was not British. In answer to this, he explained he was born in Jamaica and lived there until he was seven when he moved to live in the UK. He was a British citizen 27 years before he won the medal. Just because he was not ‘white’ do not mean he should be ‘othered’ by our western society.
Why does ‘difference’ matter?
It is something that is both necessary and dangerous. Without it ‘meaning’ would not exist, however it is far to easy for us to compare, which can digress to a negative. “we can only construct meaning through dialogue with “other” explains Mikhal Bakhtin.
Vol. 49, No. 3 (Sep., 1998), pp. 399-414 (16 pages)
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The vigorous growth of Cultural Studies has in part come about through an insistence on strong contrasts with sociology. Unlike sociology, the theoretical orientations of Cultural Studies are often held to be postmodern and discursive in character. This paper questions the usefulness of such contrasts by examining the work of Stuart Hall, focusing in particular on the problem of hegemony. I argue that Hall's approach slides ambiguously between reading hegemony as either concentrated state domination or free-wheeling discourse. Consequently, Hall cannot resist and indeed in some ways reinforces the discursive turn in contemporary Cultural Studies, despite his own explicit criticisms of this development. I track the instability of Hall's approach to an abstract logic of articulation that fragments social relations and subordinates them to political association. Hall's predicament suggests that social life must be theorized as something more than a pliant diversity of sites. The problem of hegemony calls for an account of cultural and group formation as distinct from their political and ideological construction. I thus conclude that Cultural Studies stands in need of a sociological re-orientation.
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