Suchergebnisse

This thesis seeks to investigate young immigrants and ethnic minorities' (IEM) perceptions of media portrayals of their cultural groups, with a focus on IEM's understandings regarding the construction of cultural identity in their context in Barcelona. Further, it intends to examine the ways in which young IEM, both as consumers and as producers of media texts, use digital media and media literacy to contest stereotyped portrayals of cultural groups and to construct cultural identities in their own terms. The relationship between media, representation and identity is explored through an examination of the theoretical body of work on identity politics, and of previous empirical studies focusing specifically on the portrayal of IEM in the media, at both the transnational and Spanish levels. Additionally, special attention is given to media discourses regarding multiculturalism and the multicultural society, with the aim of examining participants' positions towards cultural and identity politics. Approaches to audience studies, in terms of to what audiences do with media rather than what media do to audiences, are examined and evaluated with regards to their relevance to this study. A discussion of critical methodologies involving ethnographic and visual methods within social research, introduces the research activities carried out as part of this study. A paradigm based on the assumption of a universal capacity for language and communication informs this study's methodological choices and eliminates the hierarchy between 'researcher' and 'researched', as both are seen as participants in a mutual learning process. A total of sixteen young people (18-33 years old) from diverse ethnic and cultural backgrounds, living in Barcelona between 2006 and 2008, participated in this study. They were part of a natural group of media-makers in an ongoing artistic and intercultural project called 'Roots and Routes', which was the inspiration for this thesis title. Seven audio-visual texts produced by the participants were ...

[eng] This thesis seeks to investigate young immigrants and ethnic minorities' (IEM) perceptions of media portrayals of their cultural groups, with a focus on IEM's understandings regarding the construction of cultural identity in their context in Barcelona. Further, it intends to examine the ways in which young IEM, both as consumers and as producers of media texts, use digital media and media literacy to contest stereotyped portrayals of cultural groups and to construct cultural identities in their own terms. The relationship between media, representation and identity is explored through an examination of the theoretical body of work on identity politics, and of previous empirical studies focusing specifically on the portrayal of IEM in the media, at both the transnational and Spanish levels. Additionally, special attention is given to media discourses regarding multiculturalism and the multicultural society, with the aim of examining participants' positions towards cultural and identity politics. Approaches to audience studies, in terms of to what audiences do with media rather than what media do to audiences, are examined and evaluated with regards to their relevance to this study. A discussion of critical methodologies involving ethnographic and visual methods within social research, introduces the research activities carried out as part of this study. A paradigm based on the assumption of a universal capacity for language and communication informs this study's methodological choices and eliminates the hierarchy between 'researcher' and 'researched', as both are seen as participants in a mutual learning process. A total of sixteen young people (18-33 years old) from diverse ethnic and cultural backgrounds, living in Barcelona between 2006 and 2008, participated in this study. They were part of a natural group of media-makers in an ongoing artistic and intercultural project called 'Roots and Routes', which was the inspiration for this thesis title. Seven audio-visual texts produced by the participants were analysed, together with accompanying reflective commentaries, interviews and life narratives. The analysis reveals that young IEM are fully aware of the negative portrayals in the media of cultural groups, and articulately identify consequences for their daily lives. The study highlights the double hazard for IEM of mainstream media constructions of cultural identity, as participants cannot escape the identities imposed on them, and at the same time they are forced to constantly prove themselves to the locals. However, deeper analysis shows how IEM construct their own cultural and gendered identities in coming to terms with their 'routes' in an urban and intercultural context, rather than falling back on their 'roots', despite attempts by media discourses to focus attention on cultural differences in terms of origin, ethnicity, nationality or religion. Additionally, the study illustrates how IEM are able to break the 'circle of representation' by creating alternative imagery and distributing it by means of online social networks, the pitfalls of the so-called 'social web' notwithstanding. ; [cat] ARRELS I CAMINS'. JOVES DE PROCEDÈNCIES ETNO-CULTURALS DIVERSES CONSTRUEIXEN LA SEVA IDENTITAT MITJANÇANT EL VÍDEO DIGITAL .TEXT:Aquest estudi parteix del fet que els mitjans construeixen la imatge de l'altre mitjançant discursos exclusors basats en les diferències culturals. Les imatges de 'nosaltres' i 'ells' dominen la representació mediàtica dels grups culturals, freqüentment estudiada des del punt de vista de l'anàlisi del discurs. Aquest estudi busca investigar, però, la percepció que tenen els immigrants i les minories ètniques (IME) de les seves representacions mediàtiques, amb un enfoc específic en les seves creences i opinions sobre la construcció de la identitat cultural. La tesi vol mostrar com els joves IME fan servir el mitjà digital, tant com a consumidors com com a productors de textos mediàtics, per tal de contestar representacions estereotipades dels grups culturals, i com construeixen una identitat cultural des de la seva pròpia realitat. La relació entre mitjans, representació i identitat s'explora a través del cos teòric sobre polítiques d'identitats, relacions de poder i representació de grups culturals, i a través dels estudis empírics enfocats específicament en les representacions mediàtiques dels IME a nivell trans-nacional i local. Adicionalment, l'estudi donarà una especial atenció a com es posicionen els participants en els discursos mediàtics sobre la societat multicultural. En total, setze adults emergents d'entre 18 i 33 anys, de procedències ètniques i culturals diverses, van participar en aquest estudi. Tots vivien a Barcelona entre els anys 2006 i 2008, i formaven part d'un grup natural de joves interessats en el vídeo dins del projecte Roots and Routes ('arrels i camins'), el qual va donar nom a aquesta tesi. Es van analitzar set textos audiovisuals produïts pels participants, amb els seus respectius comentaris auto-reflexius i addicionalment es van analitzar narratives de vida i entrevistes amb els setze participants. L'anàlisi de les dades mostra que els joves IME són plenament conscients de la imatge negativa dels grups culturals als mitjans, i que identifiquen amb precisió les conseqüències dels estereotips negatius per a la seva vida diària: l' estigmatització, la discriminació i la exclusió principalment. L'estudi assenyala el doble parany per a IME que suposen les construccions mediàtiques de la identitat cultural, donat que els participants no podien 'escapar' de les identitats imposades sobre ells, a la vegada que havien de demostrar continuadament a la població que ells 'no són així'. Una anàlisi més profunda, però, mostra com els IME construeixen les seves identitats culturals i de gènere mirant cap endavant (els seus 'camins') més que mirant cap enrere (les seves 'arrels'), malgrat els intents dels discursos mediàtics d'enfocar l'atenció sobre les diferències culturals relacionades amb nocions d'etnicitat, d'origen, de nacionalitat o de religió. Finalment, l'estudi mostra com els IME són capaços de trencar el 'cercle de la representació' exclusor i crear imatges alternatives i distribuir-les mitjançant xarxes socials online, malgrat els paranys de la invisibilitat en el web 2.0 o el web social.

Feminism's current momentum, encouraged by movements such as #NiUnaMenos or #MeToo, has caused many social media agents to adopt some degree of feminism as a part of their online image or personal brand. 'Being a feminist,' for some, has become a marketing strategy in times of great polarisation between progressive forces and a reactionary backlash against feminism. The appropriation of feminism by the global market challenges public opinion, media, and academia to think and rethink feminism, and to consider whether these changes have voided it of political meaning (Banet-Weiser, 2012, 2018; Gill, 2016b). In Spain, the (extreme) right is continually launching attacks against feminism. At the same time, minority collectives such as LGBTQ+ or Roma are helping to spread feminist values into the mainstream, denouncing one of its main struggles: structural and intersectional violence against women, including online hate and harassment. In this context of confrontation, social media agents are keeping the debate about feminism alive and are picking up Spanish grassroots movements' claims (Araüna, Tortajada, & Willem, in press). In this article we outline the latest trends in feminist media research in Spain, examining 20+ years of postfeminism as an analytical tool, and highlighting new trends. Through recent research results, we show that in the Spanish (social) media landscape many different strands of feminism are entangled, all struggling to impose their narrative of what feminism looks like in the post-#MeToo era. We will examine the main fault lines along which feminism is divided into different undercurrents, some of which are fostering the progress of feminism, and some of which are undermining it: age (generation), class, race, and sexual identity.

Feminism's current momentum, encouraged by movements such as #NiUnaMenos or #MeToo, has caused many social media agents to adopt some degree of feminism as a part of their online image or personal brand. 'Being a feminist', for some, has become a marketing strategy in times of great polarisation between progressive forces and a reactionary backlash against feminism. The appropriation of feminism by the global market challenges public opinion, media, and academia to think and rethink feminism, and to consider whether these changes have voided it of political meaning (Banet-Weiser, 2012, 2018; Gill, 2016b). In Spain, the (extreme) right is continually launching attacks against feminism. At the same time, minority collectives such as LGBTQ+ or Roma are helping to spread feminist values into the mainstream, denouncing one of its main struggles: structural and intersectional violence against women, including online hate and harassment. In this context of confrontation, social media agents are keeping the debate about feminism alive and are picking up Spanish grassroots movements' claims (Araüna, Tortajada, & Willem, in press). In this article we outline the latest trends in feminist media research in Spain, examining 20+ years of postfeminism as an analytical tool, and highlighting new trends. Through recent research results, we show that in the Spanish (social) media landscape many different strands of feminism are entangled, all struggling to impose their narrative of what feminism looks like in the post-#MeToo era. We will examine the main fault lines along which feminism is divided into different undercurrents, some of which are fostering the progress of feminism, and some of which are undermining it: age (generation), class, race, and sexual identity.

Este artículo tiene como objetivo recoger cómo el Antigitanismo en España es confrontado actualmente por las mujeres gitanas, especialmente en sus discursos en las redes sociales. Mediante la identificación y análisis cualitativo de espacios y herramientas online que tiene a su disposición el feminismo gitano, principalmente Facebook y Twitter, analizaremos los principales temas y estrategias que surgen entorno a la articulación entre la lucha feminista y la lucha contra el Antigitanismo. La muestra seleccionada comprende 459 publicaciones procedentes de seis páginas en Facebook y seis cuentas en Twitter sobre un periodo de siete meses (septiembre 2019 - abril 2020). Los resultados desvelan los principales temas alrededor de los cuales el feminismo gitano construye sus luchas, y las diferentes estrategias que emplea para confrontar el feminismo blanco (payo) con sus prejuicios raciales: la pedagogía, la denuncia, la llamada a la acción y la construcción de redes y alianzas. Detectamos que Facebook se utiliza sobre todo para comunicarse con la propia comunidad, mientras en Twitter las activistas se dirigen principalmente al feminismo payo. Además, destacamos la existencia de dos perfiles complementarios en la actuación de estas mujeres en las redes: la 'feminista gitana' y la 'gitana feminista', que ponen el énfasis en el eje del género y de la etnia respectivamente, sin obviar los otros ejes de desigualdad. Se observó una gran cantidad de publicaciones relacionadas a la lucha feminista global, como el 8M o el 25N, pero también temas como maternidades, violencia obstétrica y derechos reproductivos, medios de comunicación y, a partir de marzo 2020, los brotes de Antigitanismo a raíz de la crisis sanitaria relacionada con el Coronavirus. Este artículo busca contribuir a los debates sobre el Antigitanismo en España dando visibilidad a las luchas de las mujeres gitanas, desde una perspectiva poco abordada, que es la del feminismo interseccional.

This article analyzes the male caregiving characters Driss in Intouchables (2011), Craig in Still Mine (2012) and David in Nebraska (2013) in terms of hegemonic masculinity and its variations (Connell 1990; Connell and Messerschmidt 2005). Caregiving is a complex social situation normally assumed within kinship relationships, and traditionally attributed to women. We briefly review feminist analysis of caregiving since the 1970s (Fine and Glendinning 2005), and use critical studies on men and masculinities to show that the uptaking of caring tasks by men would and is contributing to equality between women and men (Elliott 2015). We have looked at the portrayal of the male caregivers in these films, and if and how they challenge hegemonic masculinity in terms of positive experiences. Our findings show that despite the tension men experience between giving in to and challenging patriarchal privilege of a care-free life, strategies such as humour, complicity, outdoor action and a general concern for the dignity of the care-receiver can be identified as some of these features of (imagined) caring masculinities and open new spaces for defining care as a gender neutral activity.

Youtube, espacio mediático postelevisivo por excelencia, modifica los códigos de representación y comunicación entre jóvenes sobre temas como la identidad y la orientación sexual. Así, la plataforma de vídeo se ha convertido en el arma definitiva del activismo LGTBQ (Polo, 2016) donde gays, lesbianas, bisexuales y queers se abren paso en la red. Esto ocurre mientras el posfeminismo se consolida en los medios mainstream como lo que parece la única vía de representación femenina: ostentado en numerosas ocasiones por iconos de la cultura popular, el posfeminismo se caracteriza por un efecto 'rebote' contra el feminismo histórico, reivindicando una mujer liberada, asertiva y auténtica, obviando así las injusticias del patriarcado que siguen existiendo (Tasker y Negra, 2005; Gill, 2007). Los patrones de estas representaciones posfeministas están vinculadas por una parte con la autenticidad, el éxito, la libertad de elección y el empoderamiento femenino y, por otra parte, con la agencia sexual de las mujeres y el uso que éstas hacen de su cuerpo para conseguir privilegios. Este estudio indaga en cómo las representaciones de youtubers lesbianas, por una parte, reproducen y, por otra parte, se resisten a este posfeminismo mainstream. Con este objetivo hemos seleccionado una muestra de cinco youtubers lesbianas españolas con un gran número de suscriptores (YellowMellow, Dulceida, Xuri Fenton, Gominuke, Koala Rabioso). Los resultados muestran, por un lado, la gestión del propio cuerpo principalmente situada fuera de la mirada masculina y generadora de nuevos imaginarios - en este caso, lésbicos. Esto otorga a las youtubers lesbianas una agencia sexual que no está enmarcada en el posfeminismo, sino que desarrolla su propio lenguaje. Por otro lado, estas youtubers ostentan una autenticidad más reflexiva (Giddens, 1994) y más comprometida que la de las representaciones posfeministas, generalmente vacías de contenido político. Aunque cada una de ellas crea una marca personal exitosa - más o menos vinculada a grandes marcas o el cosmetismo -, reclaman la autenticidad como valor principal y consiguen mantener una credibilidad a través de la gestión de sus fracasos en clave humorística.

Youtube, espacio mediático postelevisivo por excelencia, modifica los códigos de representación y comunicación entre jóvenes sobre temas como la identidad y la orientación sexual. Así, la plataforma de vídeo se ha convertido en el arma definitiva del activismo LGTBQ (Polo, 2016) donde gays, lesbianas, bisexuales y queers se abren paso en la red. Esto ocurre mientras el posfeminismo se consolida en los medios mainstream como lo que parece la única vía de representación femenina: ostentado en numerosas ocasiones por iconos de la cultura popular, el posfeminismo se caracteriza por un efecto 'rebote' contra el feminismo histórico, reivindicando una mujer liberada, asertiva y auténtica, obviando así las injusticias del patriarcado que siguen existiendo (Tasker y Negra, 2005; Gill, 2007). Los patrones de estas representaciones posfeministas están vinculadas por una parte con la autenticidad, el éxito, la libertad de elección y el empoderamiento femenino y, por otra parte, con la agencia sexual de las mujeres y el uso que éstas hacen de su cuerpo para conseguir privilegios. Este estudio indaga en cómo las representaciones de youtubers lesbianas, por una parte, reproducen y, por otra parte, se resisten a este posfeminismo mainstream. Con este objetivo hemos seleccionado una muestra de cinco youtubers lesbianas españolas con un gran número de suscriptores (YellowMellow, Dulceida, Xuri Fenton, Gominuke, Koala Rabioso). Los resultados muestran, por un lado, la gestión del propio cuerpo principalmente situada fuera de la mirada masculina y generadora de nuevos imaginarios - en este caso, lésbicos. Esto otorga a las youtubers lesbianas una agencia sexual que no está enmarcada en el posfeminismo, sino que desarrolla su propio lenguaje. Por otro lado, estas youtubers ostentan una autenticidad más reflexiva (Giddens, 1994) y más comprometida que la de las representaciones posfeministas, generalmente vacías de contenido político. Aunque cada una de ellas crea una marca personal exitosa - más o menos vinculada a grandes marcas o el cosmetismo -, reclaman la autenticidad como valor principal y consiguen mantener una credibilidad a través de la gestión de sus fracasos en clave humorística. ; Youtube, the post-television medium par excellence, modifies young people's codes of representation and communication on issues such as identity and sexual orientation. The vídeo platform has become the ultimate weapon of LGTBQ activism (Polo, 2016) where gays, lesbians, bisexuals and queers take their stances. This occurs at a moment where post-feminism in mainstream media appears to be the only possible female representation: as a symbolic backlash against historical feminism —used on many occasions by icons of popular culture— it claims liberated, assertive, and authentic women, but at the same time obviates the injustices of patriarchy still firmly in place (Tasker and Black, 2005; Gill, 2007). The patterns of post-feminist representations are linked with authenticity, success, freedom of choice and female empowerment on the one hand, and with sexual agency and women's use of their bodies in order to achieve privileges on the other.This study investigates how young lesbian youtubers in Spain reproduce and/or resist this mainstream postfeminism. To this end we have selected a sample of five Spanish lesbian youtubers with a large number of subscribers (YellowMellow, Dulceida, Xuri Fenton, Gominuke, Koala Rabioso). Results show how these girls manage their bodies and appearance outside the logic of the male gaze, thus generating new (lesbic) imaginary. This grants lesbian youtubers a sexual agency that is not framed in post-feminism, but develops its own language. On the other hand, one of the most important features of these youtubers is authenticity. An authenticity that is not only framed in the logic of Youtube itself, but is also more reflexive (Giddens, 1994) and more politically engaging than post-feminist representations, generally void of ideology. Although each of these girls creates a successful personal brand —whether or not linked to commercial brands— they claim authenticity as their main value and manage to maintain their credibility by managing their failures in a humorous way.

Social media have become a key online space for the visibility of feminist issues. However, on many of these platforms profeministic discourses and productions coexist with post-femininist and anti-femininist ones. While feminism has been strengthened thanks to social media, online attacks on women have also increased in number and intensity. Post-femininist discourses have established their role as distributors of an increasingly varied production of femininity constructs that exalt women's empowerment and sexuality (McRobbie, 2009; Lotz 2001; Gill 2007, 2011). Self-representations of femininities instrumentalize the achievements of the feminism movement by promoting individualistic attitudes far from any political identity or collective struggle. This article will focus on analyzing the interactions between different feminist practices on social media, including cyberfeminism and the construction of counterpublics, with the aim of capturing the complexity and implications of all of them. ; Las redes sociales se han convertido en un espacio imprescindible para la visibilización y defensa del feminismo. Sin embargo, en estos entornos también conviven discursos y producciones profeministas, posfeministas y antifeministas. Si bien el feminismo se ha fortalecido a través de las redes sociales, también los ataques online contra las mujeres se han intensificado. Por otra parte, los discursos posfeministas se han consolidado actuando como distribuidoras de una producción cada vez más variada de construcciones de la feminidad que exaltan el empoderamiento de las mujeres y su sexualidad (McRobbie, 2009; Lotz 2001; Gill 2007, 2011). Las autorrepresentaciones de las feminidades instrumentalizan los logros del feminismo para promover actitudes individualistas alejadas de cualquier identidad política o lucha colectiva. Este artículo se centrará en el análisis de las interacciones entre las prácticas feministas en las redes sociales, incluyendo el ciberfeminismo y la construcción de contrapúblicos, con el objetivo de captar ...