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1. Street Dance of China is a large-scale street dance talent contest produced by Youku, with four stars as the leader of each team to “battle” with the other teams in the form of group dance for the final championship. Street dance is a street subculture with distinctive style, which reflects the rebellion and self-consciousness of teenagers. In China, people who do street dance were once regarded as “hoodies wondering in the streets” and have neither learning nor skills. The love and popularity for street dance was originally limited to the street dance community, until variety shows and talent contests expanded its influence and made it more accepted in the society. However, when street dance and other subcultures are performed in shows on our screens and begin to pursue audience ratings and commercial profits, are they incorporated commercially? Will this kind of commercial incorporation make subculture lose its style and rebelliousness?
2. “Idol Producer” is a phenomenal show produced by IQIYI in 2018 with both high audience ratings and top trending topics. It’s a commercial show for the masses, yet its remarkable success to some extent is because the popular culture industry borrowed and used elements in subcultures, which made the show very controversial. Trainees like Cai Xukun have a male quality that is not mainstream. This helped them won the heart of female fans, but also sparked a wider concern in the society as the trainees in the show are not masculine and have “heavy makeup”. There’re also appeals to save masculinity in males. The media and researchers pointed out that “Idol Producer” disrupted traditional male masculinity, which is due to women’s consumption demands. What’s your view and comment on the untraditional male quality in “Idol Producer”? Can this kind of male quality be accepted by the society? What kind of influence will this “not so masculine” male quality have when it is presented by the media?
3. The new media culture which originated from marginalized groups is often not well recognized by the society, because the subjects who produce such culture don’t do well financially, have low social status and poor cultural resources. For example, the Smart-Style culture, which “challenged the aesthetic nerve” back then, was once ridiculed. Today, Tik Tok, Kwai and other short video platforms are also ridiculed as being “vulgar”, “idiotic” or “retarded” because of the “not-pleasing-to-the-eyes” videos. What’s your view and comment on the new media culture production of marginalized groups on short video platforms? Can this kind of video be called “culture”? What are the social issues reflected from it?
返回《New Media and Cultural Studies》慕课在线视频列表
-1.1 Culturalism
--1.1
-1.2 Marxist Theory
--1.2
-1.3 Structuralism and Post-structuralism
--1.3
-1.4 Gender and Sexuality
--1.4
-Unit Test 1
-Discussion Questions of Lesson 1
-2.1 Aristotle’s Classical Rhetoric
--2.1
-2.2 Kenneth Burke’s New Rhetoric
--2.2
-2.3 Frame and Metaphor: Two Weapons in the Fight for Discourse
--2.3
-2.4 The Concepts of Our Time and the Secret to their Creation
--2.4
-Unit Test 2
-Discussion Questions of Lesson 2
-3.1 Understanding Signs: From Saussure to Pierce
--3.1
-3.2 The Power Relationship Behind Signs
--3.2
-3.3 The Landscape of Signs in the Cyber World
--3.3
-3.4 A Model of Communication Semiotic Criticism
--3.4
-Unit Test 3
-Discussion Questions of Lesson 3
-4.1 Feminist Stance in Romance Web Fiction
--4.1
-4.2 Paradox of Body Consumption
--4.2
-4.3 Women’s Empowerment in New Media
--4.3
-Unit Test 4
-Discussion Questions of Lesson 4
-5.1 Optimistic Theories of Cultural Consumption
--5.1
-5.2 Pessimistic Theories of Cultural Consumption
--5.2
-5.3 Fan Culture and Convergence Culture
--5.3
-Unit Test 5
-Discussion Questions of Lesson 5
-6.1 Understanding Rituals
--6.1
-6.2 Media Events and Media Rituals
--6.2
-6.3 Interaction Ritual Chains
--6.3
-6.4 New Media Ritual Criticism
--6.4
-Unit Test 6
-Discussion Questions of Lesson 6
-7.1 Overview of Subcultural Studies
--7.1
-7.2 Birmingham School’s Subcultural Studies
--7.2
-7.3 The Incorporation of Subcultures
--7.3
-7.4 Case Studies of Subcultures
--7.4
-Unit Test 7
-Discussion Questions of Lesson 7
-8.1 Space and Spatial Epistemology
--8.1
-8.2 Spatial Practice and Power Production
--8.2
-8.3 Lefebvre’s Theory of the Production of Space
--8.3
-8.4 Foucault’s Theory of Space Discipline
--8.4
-8.5 Cultural Consequences of the Production of Space
--8.5
-Unit Test 8
-Discussion Questions of Lesson 8
-9.1 Telegraph: Technology and Cultural Changes
--9.1
-9.2 Virtual Reality: Technology and Space-Time Restructuring
--9.2
-9.3 Mobile Phone: Technology and Subjectivity Alienation
--9.3
-9.4 WeChat: Technology Reshapes Social Relationships
--9.4
-Unit Test 9
-Discussion Questions of Lesson 9
-10.1 Five Shapes of Body
--10.1
-10.2 Philosophical “Adventure” of Body
--10.2
-10.3 The Code of Power Behind Body
--10.3
-10.4 Body Politics in the Era of New Media
--10.4
-Unit Test 10
-Discussion Questions of Lesson 10
-11.1 Internet Freedom: Media Imperialism in the Global Village
--11.1
-11.2 Cyber Diplomacy: The New Blue Ocean of Global Political Communication
--11.2
-11.3 Cyber Terrorism: The Challenge of New Media Decentralization
--11.3
-Unit Test 11
-Discussion Questions of Lesson 11
-12.1 Overview of Research Methods
--12.1
-12.2 Ethnography
--12.2
-12.3 Focus Group
--12.3
-12.4 Interactive Narrative
--12.4
-Unit Test 12
-Discussion Questions of Lesson 12
-Final Exam