Coming Soon: Global Fandom Jamboree

This year, I am putting this blog, Confessions of an Aca-Fan, into the service of an ambitious project. I have sought to map fandom and fandom studies across as many different countries as I can. I spent time this summer tapping my various networks seeking to identify early career scholars — advanced PhD candidates, junior faculty, independent scholars — who were doing work on fandom broadly defined to include cult media, comics, sports, and music — and who were willing to engage in conversations with other scholars doing similar work somewhere else on the planet. To date, the series has participants from almost 40 countries. The terminology here is challenging — global, transnational, transcultural will all crop up in our discussion here. I am thrilled by the scope and diversity of participation but also painfully aware of absences here.

Each week, we will present opening statements from 2-3 scholars doing loosely related work, whether organized around shared objects or themes, followed by several posts worth of back and forth conversations among them about whatever these statements inspired. The series is currently scheduled to run from Mid-October through late April, representing all together 25 pairings of participants. I am still open to further participants, but only if they come from countries which are not currently represented. The included countries so far are:

Argentina

Australia

Brazil

Bulgaria

Cameroon

Canada

Chile

China

Colombia

Cyprus

Czechia

Denmark

Ecuador

Finland

France

Great Britain

Greece

India

Indonesia

Ireland

Israel

Italy

Japan

Korea

Lebanon

Malaysia

Mexico

The Netherlands

Nigeria

Norway

Pakistan

Philippines

Poland

Portugal

Russia

Singapore

South Africa

Spain

Syria

Thailand

Turkey

United States

Vietnam

I am especially interested in filling holes from the Global South . So if you would like to participate and represent those countries, reach out to me at hjenkins@usc.edu and I will do my best to get you paired off.

There’s much to look forward to in this epic conversation series. Based on the materials produced so far, there’s much we can learn about geographies of distribution, about the spaces of fandom in different countries, about issues of translation, about how smaller countries get absorbed into global fan cultures or exist as crossroads for multiple national fandoms, about process of localization, about the particularity of fandom as it operates in the islamic world, in post-socialist and socialist economies, and so much more. We will be talking about soccer, Turkish drama, K-Pop, Bollywood, Anime, games, Game of Throne, Hollywood, Netflix, comics, pop music, and so much more.

Keep an eye on this space. I am going to be taking a little downtime over the next few days but we will be back soon with the debut of the series and it won’t slow down much from there.

Free Human Kindness: How ASMR Is Helping us Survive the Pandemic, Clinical Depression and America's Culture Wars (Part Three

You have referenced raising money for charity here but of course, many of the ASMR artists and community leaders also support themselves by performing these services. There’s been a big debate among fans and fan scholars around which aspects of the producer-fan relationship are exploitative and how to reconcile community building and profit-making in this regard. Given what you have said here about the strong affective bonds between performers and followers, I wonder how these issues have been dealt with in regard to ASMR. Are some practices here read as exploitative or as damaging to the kinds of social relationships you describe? We pay therapists, after all, and yet also see them as looking after the emotional needs of their patients/clients. 

It’s delicate. Right? People enjoy content as much as most things in their lives. They’d part with a lot before they gave it up, and yet they often steal it, even when they’d never walk into a store and put something in their backpack. Seemingly, it comes in part from the belief that content creation jobs are a pleasure to do, and people should be paid based on the amount of torment and boredom they endure. As an independent artist myself I generally stand one hundred percent on the side of others like me who are just trying to pay their rent and put food on their table. I don’t particularly want to hear Amazon Studios cry poor when they don’t even pay their taxes, but we’re individuals, working full time, who do pay our fair share. I have, however, felt momentarily taken aback when therapists asked me for money that I couldn’t comfortably afford. You come to them because you’re in pain. They express concern for you, but at the end they remind you that you have a transactional relationship. Sometimes a thought can pass through your mind. “If you actually cared, you wouldn’t leave me in a financially stressful situation.” And then I remind myself that they deserve to be paid. I just deserve functional insurance.

Both of these emotional dynamics can come up in ASMR.  I discovered the genre on YouTube, which is ad-supported. Sometimes a video would begin with the performer delivering a plug for a sponsor like Blue Apron or Casper Mattresses, but I was used to that from podcasts so it didn’t phase me. When I started watching Twitch, which is tip-supported, it took some getting used to because I was reminded incessantly about the money trading hands as announcements popped up on the screen. “Thanks, Aster, for the thousand bitties.” Even without doing any mental math it was hard to miss the fact that some of these artists were making multiple times as much money for a day’s work as I’d ever earned. You mustn’t compare like that. The goal is for all of us to win. Besides, streamers tend to repeat over and over, “You don’t need to give me anything. Please don’t feel like you have to. It’s not necessary. I love all of you equally.”  They rarely offer anything extra for sale, only their thanks and sometimes the opportunity to request a song or something. But people still pelt them with larger and larger amounts of money in a game of one-upmanship to be seen as their #1 fan. 

I once watched someone donate fifteen thousand dollars to a Twitch streamer (not an ASMRtist) over the course of a few weeks. I was like, “Who is this guy, a Saudi prince or something?” Even though the streamer was married, I felt safe in assuming he was in love with her and that no matter what happened it couldn’t end well. Plot twist: It ended very badly, but for a different reason than I expected. He convinced her to start a business with him. She put more than fifteen thousand dollars into it. Then he tried to vanish and actually left her in the red. It came out that he’d done this to other people as well. She hired an attorney and got her money back. Please, no one do that again.  The story I’m describing is the limit case. Even most of the artists who are making videos full time now worked in low-paying service industry jobs until very recently, and it scares them to think about ASMR falling out of vogue, or those artists getting #Cancelled and not having a normal career to fall back on.

YouTube regularly, routinely cheats artists out of their money by ‘demonetizing’ them. The artist allows ads to run at the beginning of their videos in exchange for payment, and then YouTube refuses to pay out by claiming that the videos have violated their standards and practices. Ninety percent of the time there’s absolutely nothing in the videos which would be considered inappropriate outside of, say, China, where YouTube does a lot of their business. YouTube won’t tell you how exactly a given video has violated the agreement, so one is left to conclude that it’s because the artist is large-chested or because the whole idea of whispering to the camera struck someone as sexual.  

Gibi, the most-subscribed-to English language ASMRtist on YouTube, ran into a different sand trap when she attempted to start a subscription service app called Zees. Essentially, artists would repost their YouTube videos on the app and she would ensure they got paid more fairly than they had elsewhere. She stressed over and over that the same videos would still be free on ad-supported YouTube, just as they always had been. We’d simply be giving our favorite artists an added layer of financial protection from the censorship whims and financial double dealings, and we’d be getting our usual content in a nicer format. Despite those promises fans got scared that yes, today her intentions sounded honorable, but if they supported her then soon all of this previously ‘free’ content would in fact end up behind a paywall. ASMR would end up like so many other post-capitalist institutions, out of reach for most people. I genuinely don’t think that’s what was going on, but the business was quietly discontinued.

I am especially interested in the phenomenon of gifting -- the exchange of meaningful, tangible objects between performers and fans, exchanges which might make the virtual online relationships seem more concrete and “real.” What role(s) do such gifts play in the ASMR community? 

Most artists are very selective in what personal information they share online, first and foremost their physical address, so it’s not always easy to send them physical gifts. But some have PO Boxes, either in their own town or near a family member, who will relay them things. Some of them also appear at conventions like TwitchCon and VidCon, where there may be an opportunity to hand them something. 

I have had two experiences with giving gifts and both were really satisfying. A Twitch streamer mentioned that they were spending Christmas alone and had no plans. I came across an ad on Facebook for a company that would send someone a cute stuffed animal and a card. I knew chickens were her favorite animal, so I sent one to her PO Box. It was the only present she got for Christmas last year. When she opened the box on stream and had a big reaction I felt really good. They’ve had that chicken next to them in every stream they’ve done since. Whenever I check in on her channel and she’s still got it close at hand I feel so glad I spent the money.

Another ASMRtist I follow, who is a big Legend of Zelda fan, developed a serious medical problem. For a few months they were in mind-bending pain, almost all day, every day. I ran across a luminescent Zelda health potion on eBay. I wanted it to sit on her shelf like a talisman. She had no way of receiving gifts, but I wanted her to own it, so I arranged to Venmo her the cash and have her buy the item for herself. Her condition has significantly improved. She says that when she was really in trouble it wasn’t the people she knew in real life who were there for her, it was her online community.

As we wrap this up, I want to return to where you started. Your first sentence was “ASMR is an art movement, an aesthetic, an online culture and even a philosophy.” So speak a bit more about the first part of the sentence. What does it mean to think of it as an art movement? How might you describe that aesthetic? And how does the aesthetic operate in the service of the philosophy and community aspects you have been discussing so systematically here? You’ve already told us a number of things in this regard, but I wanted to give you a chance to sum that up now that we as readers are better informed about what’s going on here.

In terms of formal aesthetics, ASMR films are usually recorded in absolute silence, making each sound deliberate and purposeful. They use soft volumes, which force us to stop moving around and really listen. There may be a single actor or a small few, and the actors get very intimate with the camera. The films are typically made on a low budget, by a relative amateur. The settings are usually domestic or pastoral, and instead of a house where everyone is rushing to get out the door in the morning, you’re likely to see a lot of bedrooms at 3am. The plots are often loosely-structured and more concerned with the journey than the destination. And the visuals often include a lot of close-up shots of props, costumes and other details. ASMR videos are obsessed with aesthetics like clean simplicity, color matching, beautiful tailoring and craftsmanship, and yes, potentially a person’s physical appearance – not just their genes but their clothes, their grooming. It’s all of a piece. Tonally, the films might be comedic, or contemplative, or romantic, but the mood is almost always light. And the function is to relax and uplift you, making you feel better about the world and each other.

However, neither A Quiet Place nor The Lion King is an ASMR movie. A Quiet Place possesses all of the formal aesthetics I just described, but the exact opposite tone and function. It tries to make you nervous. The Lion King possesses the tone and function I described, but virtually none of the aesthetics. ASMR, as a genre, is the meeting of a form and a function.   

Some of the most utilitarian ASMR videos are the simplest, providing white noise, rain sounds, LoFi music and other relaxing aural soundscapes which you can listen to while you write or study. My favorite mixes together rain, soft jazz and the quiet background sounds of a cafe, allowing you to trick your brain into thinking you’re writing in a public restaurant without spending money or defying COVID restrictions. Such minimalist ASMR videos might not set the world on fire with their originality and production values, but they get a lot of repeat views for obvious reasons and serve a useful purpose.  

These are just a few of the forms ASMR can take and the purposes it can serve. I hope people give it a listen.

To read the first parts of this interview, see Part One and Part Two.

Charlie Jenkins is a novelist and transmedia consultant. His upcoming debut novel, American Wrestling 1989, is a melodrama which explore cultural conflicts in the world of 1980s professional wrestling and the ways that broken and discarded people can either heal or hurt one another as they endure their own personal tragedies. He was previously the Creative Director of Chaotic Good Studios and Research Director for The Alchemists Transmedia Storytelling Company, serving clients like NBC, The CW, Blizzard Entertainment and BaseFX.

Free Human Kindness: How ASMR Is Helping Us Survive the Pandemic, Clinical Depression and America's Culture Wars(Part Two)

To read the rest, see part one and part three.

You’ve already said several times here that a majority of the community leaders are women. This has to do with notions of attractiveness and sexiness to be sure, but we’ve also talked about the strong maternal roles these women play in the life of their followers. That they are traditionally attractive gets men to look once. It may even offer some thrill given these women are getting close to the camera, whispering, and otherwise creating a dynamic we associate with more intimate relations, but the maternal nurturing would seem to be what sustains these relationships.  

Since these are complex and personal subjects I just want to say up front: Most of my thoughts on this are based on my close observations and experiences as a viewer. You’re interviewing me as a fan, but an artist might well describe their own work differently.   

 When I was little my mother used to rub my back, ruffle my hair, cuddle me and speak to me in soft voices. Those experiences filled me with a deep sense of well-being. I felt very safe and protected. I did less of that with you, dad – probably because society tries very hard to make men feel self-conscious being affectionate with one another – so I associate those feelings specifically with feminine nurturing. We, as adults, possess “inner children” - versions of ourselves which haven’t really aged that much since our early years, but which we’re usually forced to hide away from the adult world for protection. It can be very healing when we’re able to trust someone enough to let them care for our inner children or play with our inner children. 

 I’ll never forget a video Frivolous Fox made where she sang “You Are My Sunshine”. I started sobbing, because my mother used to sing that song to me when she was about that same age, and I felt like Frivvi had captured that moment in a bottle for me, allowing me to have it back.  

 On her Twitch channel, Cutscene Cutie often hums vintage Disney songs and it always makes my heart soar, because she has such a beautiful voice, and because I watched those animated films when I was little. Scottish Murmurs loves to play the ‘Dot Dot, Line Line’ game with viewers, because it was something her mom always did with her when she was a child. Gibi has a wonderful series where she plays with children’s books and puzzles. Several artists I like have made videos where they play school nurses who check you for lice, grade school teachers who help you make arts and crafts for your parents, or moms who tuck you into bed. The White Rabbit roleplays as an Italian grandmother named Nonna and knits you a scarf. 

 At the same time, different people need other kinds of therapeutic experiences. Some artists offer snuggling videos where they pretend to be your girlfriend and to lie next to you while you go to sleep. Or they pretend to be your wife and they comfort you after you had a bad day at work. I think someone could definitely watch a movie like Blade Runner 2049 or Her which deals with the romance between a man and artificial intelligence and they could view this as a disturbing trend. If you can just get your needs met without confronting the complexities of real human relationships then not only will you be alone, but someone else will be alone who you could have had a relationship with. Switzerland’s Gina Carla has a video where she just repeats, “I love you, I love you, I love you” for several minutes, and by the end of it she’s crying because she’s thinking about the people out there who need to hear that. I just feel that many people have been so damaged by friends and partners who recklessly hurt their feelings that they need to see healthy relationships modeled, and get a sense of what they feel like, before they’ll be prepared to risk looking for them again.

As we look at these women, they often express ideals we might associate with feminism -- from self-empowerment to notions of consent, from queer positivity to a rejection of body and slut shaming. So, tell us more about how the genre facilitates those messages. 

 My favorite ASMR video of all time, because of its potential to transcend entertainment and help people, is Goodnight Moon’s “Can I Touch Your Face?” She demonstrates that asking for consent doesn’t have to be uncomfortable. If you bring a different energy to it, it can be playful, intimate and inviting. Instead of just opening you up for rejection it can be an empowering affirmation of what you want. By making it about something that’s very personal but not sexual she keeps it from coming across as dirty. I wish that sex education students would watch it because if they learned from her they’d probably develop some healthy practices and outlooks. 

I’d hope many of the artists feel empowered by their work. But, one of the most powerful and deeply personal stories I’ve heard comes from FrivolousFox (Lauren). This one is difficult for me to write about, and I can’t imagine how difficult it was for her to tell. It’s the very rare ASMR video that isn’t relaxing, but if anything speaks to the heart of what the art movement is about, it’s this. 

In high school Lauren was a deeply insecure tomboy from a small-town religious upbringing. She fell in love with a girl, which caused her to feel ashamed, and caused her family to stop supporting her. She pursued the relationship in secret for several years, even after the other girl’s mom sent her to a school in another state. In college Lauren got a car so that she could see her girlfriend whenever she wanted. They went on a road trip. They were clowning around and Lauren got into a car wreck. The car somersaulted and landed on the other side of the highway. Her girlfriend was in a coma for 33 days and when she woke up she was mute and had to relearn everything from scratch. She’s still very limited in what she can do. Lauren wasn’t allowed to see her for five years and had to find a way to process the unbearable regret that she felt. She has dealt with severe emotional problems ever since, but ASMR has given her a way to try to comfort other people who are in pain. She’s probably the most outspoken ASMRtist I know about mental health issues and she’s one of several LGBTQ+ artists who have made videos with queer positive themes, such as roleplays around gay crushes, or ones which offer you words of acceptance.  

I think originally ASMR was, overall, a relatively white group, albeit one which had a lot of diversity in life experience. At the same time, YouTube has such a low barrier for entry that you don’t need to be in Hollywood to make it. You don’t need to be recognized by an agent or a producer. All kinds of people from around the world have been able to add their authentic voices to the culture. There have long been a few icons heavily visible within the space, such as MattyTingles, who was born in South Korea, BoHime Chella, who is of Portugese descent, ASMR Glow, who’s of Israeli and Moroccan descent, and Angelica, RaffyTaphy and The ASMR Ryan, who are Latinx. There have also been Caucasians from countries around the world such as Scottish Undertones, Tinglesmith and WhispersRed, who are British, Gentle Whispers and Palagea, who are Russian, Gina Carla, who is Swiss, and MassageASMR, who is Australian. Over the past few years I have become aware of an ever-wider range of Black voices entering the space, including the aforementioned BoHime Chella, Batala, April’s ASMR, Annura’s ASMR and JayYoung. In many cases my awareness is honestly the operative phrase, because they had been around. In other cases, it’s because our circle of friends has grown exponentially.  

 There are also a whole world of artists like Latte, ASMR PPOMO, SAS-ASMR, Devya Gurjar, KittyKlaw and Petit Sucre Blau who largely or exclusively speak languages other than English. PPOMO and SAS have two of the five largest channels in the world. Honestly, I really enjoy the languages and accents. But apart from just representation, each of these people brings elements of their cultures to their videos. If I’ve misdescribed anyone’s identity, please let me know and I’ll be happy to edit it. Since singling any one culture out with a video example goes against the spirit of what I’m saying I’ll use a playlist again. 

Honestly, it’s easy to get comfortable with a group of favorite artists and never become as familiar with others, even though they’re just as good. There are so many creators out there that it can be easy for busy people to just feel overwhelmed. But when you do take the time to sample artists it can be really rewarding. I’d love to read a similar personal essay written by someone who primarily watches an entirely different group of creators.

I think you have now given us enough of a core understanding of this community, its values, and its leadership structure that we can start to make sense of the role ASMR was playing for people during the Pandemic. So, share a bit more about the ways that these videos focused on self-care and community well-being helped people -- especially those struggling with depression and anxiety -- make it through this incredibly difficult time. How did these performers -- of all races and nationalities, as you note -- embrace new responsibilities for their community? And what did this mean for their followers?

To be honest, the first time I saw a COVID mask in an ASMR video I felt uneasy. I liked it even less when one artist called out another for failing to use her platform to promote Black Lives Matter, and the criticized person received a flood of hateful Twitter DMs, including threats to her children’s safety. She was left visibly frightened and crying. “I make relaxation videos to help people sleep,” she said. As 2020 went by some artists had to step away because their own mental health had collapsed. My clinical depression and anxiety had reached an all-time high and I was mainlining hours of relaxation videos every day, trying to stay fucking calm. Seeing the ASMR community become more like the rest of the world was not helping my confidence that everything was going to turn out alright. 

 A number of ASMR Twitch streamers held 24 hour telethons for a variety of charitable causes. I expected their donors to dry up after the first few hours. A lot of ASMR viewers are young, with very little economic opportunity, especially during a pandemic and record layoffs. But I’d wake up at 4am and check back in and the gifts would still be rolling in. Frivolous Fox regularly used her Twitch channel to go on hours-long, life affirming rambles about topics like empathy and forgiveness. She’d probably be embarrassed by this description, but it was almost like watching a 27 year old pastor deliver sermons for secular Millennial audiences. 

Here is a video where “Doctor” Darling tests you for COVID, debunking misinformation in the process, which captures both the insomnia-producing anxieties and the desire to help during this moment,

We got through it. By the Fall of 2020 I had developed curiosity about what COVID masks my favorite artists were wearing and seen a very welcome increase in the amount of content they were putting out each week. By the Spring of 2021 I had lost interest in their masks and I felt glad for those who were able to go on well-deserved vacations or visit with each other in person. The in-fighting had calmed down to a whisper. The videos were largely indistinguishable from those which had come before the pandemic, except that there were more artists. It wouldn’t surprise me if some of the ranks thin out, both on the supply and demand sides, as people place a renewed value on face-to-face relationships. My consumption has decreased a little, because I’ve been busy and my mental health has been pretty good.  

 I’ll remember, though, that throughout it all, despite and because of their humanity, most of the steadfast helpers stayed on the ship, seemingly ready to go down with it if necessary. I know their work was sometimes exhausting to them, but it gave them a way to help people from the safety of their homes, without spreading the disease. I love them for who they are. 

Charlie Jenkins is a novelist and transmedia consultant. His upcoming debut novel, American Wrestling 1989, is a melodrama which explore cultural conflicts in the world of 1980s professional wrestling and the ways that broken and discarded people can either heal or hurt one another as they endure their own personal tragedies. He was previously the Creative Director of Chaotic Good Studios and Research Director for The Alchemists Transmedia Storytelling Company, serving clients like NBC, The CW, Blizzard Entertainment and BaseFX.

Free Human Kindness: How ASMR Is Helping Us Survive the Pandemic, Clinical Depression and America's Culture Wars(Part One)

Throughout 2020 my adult son Charlie and I were locked down together in our Los Angeles apartment, so we necessarily got absorbed much more deeply into each other’s lives than we had in a long time. Perhaps what interested me the most was his engagement with the ASMR community. I learned about the social and emotional support work that YouTube creators and Twitch streamers were leading in their communities during the pandemic. These self-care and community support practices were built into the ASMR ethos. The subculture itself is somewhat guarded against press, because the media has portrayed its videos as strange and inexplicable. I’ve tried to get some leading ASMR influencers to appear on my podcast without luck (The invitation still stands if you are reading this). So, I wanted to get my son to share some of his own reflections as a participant-observer. 

Because this community is little known to outsiders, I wanted to have you start with a basic explanation which we can deepen over time. What is ASMR? How might you characterize the ASMR subculture? What kinds of content does it produce and why?

ASMR is an art movement, an aesthetic, a culture and even a philosophy. Streamers and YouTubers produce videos which are often designed to convey a sense of relaxation, kindness, fellowship and a greater appreciation for life's small pleasures. The videos can also be quite whimsical, and often they revel in absolutely trivial subjects. Welcoming people from all walks of life is a foundational principle, but that's usually accompanied by an underlying sense of unity and togetherness. ASMR is, in short, the anti-Twitter. There's so much important, hard work that needs to be done in our society, so many difficult subjects we need to talk about, and service to others is an important part of a balanced life. But if you become so damaged by the toxicity of our world that you develop serious mental health problems, you're not going to be in an effective place to help anyone. You're going to need other people to invest a lot of their energy in helping you. In times like those you look for the helpers, and ASMRtists are there with an endless supply of wholesomeness and love. 

Nothing beats real world, face-to-face companionship, but as the pandemic has shown us that isn’t always an option. When I discovered ASMR I was living in a small Louisiana town where I didn’t know even one person who I could call up to go for a beer. I tried and tried to make “real” friends but felt rejected. I’ve spent long parts of my adulthood without much money to socialize, and without much social status or confidence, partly as a result of clinical depression. I’m not alone in those regards. 

You can consume platforms like YouTube as a series of disjointed clickbait. You can also flip through the TV dial, watching things at random. Alternatively, you can choose a favorite serial drama and watch it for ten seasons. YouTubers and streamers may never become your real life friends, but when you watch them and talk to them regularly they also stop being strangers. They offer steadfast daily companionship to those who are love-poor. You can listen to them ramble about their days and it will make a trip to the laundromat go by faster. Often ASMR videos are the last thing I watch before I fall asleep, because they clear my mind of worries. If porn imperfectly meets your sexual needs, they imperfectly meet your social needs. In an ideal world, all of us would have so much healthy human contact we wouldn’t need to look for it online, but humanity has never been that way. Isolated farmers and social outcasts of previous generations simply sat alone in the dark. I think this is better. I’ve even found that some of the positive social skills modeled in ASMR can be learned. Consuming enough free digital kindness can offer you the courage to look for someone who wants to hear you prattle on about your day.

Many people believe that ASMR videos just involve people blowing on wind chimes or licking microphones. Those popular media images of ASMR reduce the genre to a postage stamp sized simplification, which is not entirely inaccurate, but far from complete. If there's one formal convention shared by all ASMR content it is calming sounds. If there’s a second, it’s how slow videos often are, forcing you to stop rushing around, flitting from one thing to the next, and be calm. It's yoga without the exercise. Words are spoken in soft tones or whispers.  

Often Bob Ross’ The Joy of Painting is cited as the inspiration point for ASMR because of the host’s calm, soft-spoken demeaner and eternal optimism. But, I think Mister Rogers’ Neighborhood is an equally significant predecessor. Most of the ASMRtists are of an age where they developed as children listening to his messages of love and peace. The way he directly addresses the audience throughout each episode and shares his hobbies and interests with them feels very much like ASMR.

If I could get people to watch one video which captures ASMR’s aesthetic it would be one of Goodnight Moon’s travelogues. When I’ve recorded vacation footage the sound has been choppy and the camera work has been disorienting. She creates these contemplative little wanders full of slow, smooth shots, curated atmospheric sounds and whispered narration. 

(Goodnight Moon is one of my absolute favorites, so I’m going to reference her a lot)

ASMR is a broad category. Any video where the filmmaker speaks softly or makes soothing with the intention of relaxing you is an ASMR video. Generally speaking the highest rated ASMR in America and Western Europe are whisper rambles, where the artist chats with the camera about subjects which interest them. For example, BlueWhispers sometimes flips through the new seed catalogues, telling you about the plants she likes to plant in her garden; Russian-born Gentle Whispering often teaches us professional insights about what fashions and accessories will flatter you; former rapper MattyTingles loves shoes and makes a lot of videos where he and his friends share their favorite pairs.

 The western world also loves roleplay videos, where the artist portrays a fictional role and monologues for the camera. Sometimes that means portraying a particular profession. In one video the Chris Hemsworth-esque FredsVoice, who has a fantastic British accent, portrays a professional photographer and pretends to have you pose for a modeling shoot; in another video, WhispersRed replicates the familiar sounds and small talk of an English barber shop. Other times artists cosplay as their favorite media characters and act out original scenes. Glow is a Star Wars nerd, so she dressed up as Darth Maul and pretended to hold you as her prisoner. A group of European artists collaborated on a richly-ornamented interpretation of A Christmas Carol for the holidays one year. Still other times artists create original characters. Goodnight Moon has an entire Medieval fantasy world called Babblebrook where she plays all of the different people in town and plays out storylines between them. Gibi, currently the most-followed English language ASMRtist, is the queen of all kinds of roleplays. My favorite of her creations is Tatyana, your Eastern European personal assistant, who measures you for wax figures and helps you to buy private islands. If you look at Japanese and Korean ASMR, or ACMP (Russian ASMR), or ASMR porn, those are different worlds. There are different trends in each. 

 Note that in most whisper ramble and roleplay videos the artist directly addresses you, the audience, and pretends as though you’re actually in the room with them, even asking you questions and pausing for you to answer. (You can answer in your head, or not at all, if you feel silly playing along at home.) Their goal is to make you feel like someone is paying attention to you in a friendly way and treating you the way you deserve to be treated. But occasionally artists turn the dynamic on its head, clownishly portraying rude and disruptive characters in order to make you laugh. 

Here is a playlist with all of the aforementioned examples. Once someone figures out what types of videos they most enjoy it’s easy to find variations on a theme. 

ASMR is named after a cool scientific phenomenon which I first noticed in childhood, long before I had any idea what it was called. Every once in a while I'd hear a sound like the howling of wind through the trees or the crunching of autumn leaves that gave me a pleasant little shiver. Sometimes when people would touch the back of my neck I’d shiver even more. Both of those are ASMR (autonomous sensory meridian response), also referred to as "the tingles." I experience that occasionally while listening to ASMR videos, and it's pleasant, but personally I always find it overstated in media coverage. 

If you want to talk about neuroscience, here's a way of looking at it which speaks much more to my experience. When I hear forks scratching against ceramic dishes in the sink it gives me a shudder of revulsion. If I'm dining with someone who chews with their mouth open it disturbs me so much I need to leave the room. Those are examples of a really common psychological phenomenon called misophonia. I also deal with sensory integration disorder, a related problem. If I'm trying to have a conversation with someone and they're loudly crunching nuts or there's a fussy toddler having a tantrum nearby I can barely string two sentences together. Your brain is supposed to focus on relevant information and fade out irrelevant background noise without your needing to consciously think about it, but mine is bad at that. I suspect many - if not most - people have had experiences like those, it's just a question of how frequently it detracts from your quality of life. I'm not a neuroscience researcher, but those issues seem to be really common among ASMR fans. I would speculate that the more unsettled someone is by painful sound frequencies or disruptive noises, the more soothing they find pleasant other frequencies or harmonious sounds (and thus ASMR videos.) They might also get the tingles, but they might simply feel like their fur or feathers are being smoothed down in the right direction rather than being rubbed against the grain. I'd also say it's an especially good place for people with depression, anxiety and related disorders to heal and maintain good mental health.

I like the way you discuss the aesthetic and philosophical dimensions of ASMR practice as well as its neurological roots. And with your suggestion that it is the “anti-twitter” you start to get at the social and political dimensions too.  In what ways does ASMR illustrate a different model of how online communities might operate than the social dynamics many find frustrating and even frightening on Twitter in the Age of Trump? How do the content producers and consumers, if those are even the right words, relate to each other? The word ‘community’ has been so overused in the Web 2.0 era that many of us have become skeptical about it; the promises of “virtual community” seem a quaint reminder of another time and place, like haircuts in high school yearbooks. Yet, when I watch your interactions with ASMR folks, it does seem to have some elements of a gift economy, even if some of the artists find ways to make money off of what they produce. I don’t mean to romanticize this. But I would like to get your sense of what you see yourself as participating in here.

Generally speaking, I believe social media is one of the most corrosive things to ever happen to American politics and society, making it harder to solve every other problem we face. I guess it's a little ironic I feel that way, since you’re the author of Spreadable Media. But overall, for me, ASMR has the healthiest online fan community I've encountered since before the advent of Facebook. 

YouTube comments, Twitter, Instagram and TikTok offer additional places for artists to express themselves and share brief interactions with supporters. But, generally I think of ASMR communities in terms of two platforms, Twitch and Discord. Twitch is essentially a one-way Zoom conversation. The creator sits in front of their webcam and performs live. You can then comment in a chatroom and they can read what you say and reply verbally. Discord provides private message boards. The artist gives you permission to join and they can kick you out. But as long as you act appropriately you can hang out with them and their other core supporters. The one I'm active in has threads about far flung topics like video games, sports, animal pictures, trivia, poetry and self-care. Every week we vote as a group on a movie to watch together, and often stay up until all hours watching sitcoms and cartoons afterward. Sometimes we play networked video games and all converse over voice chat while we compete. The artist is certainly doted on, but all of us are homies. Several of the people in the community have Twitch streams and we drop by to support all of them if we can.

 There are several reasons why, I suspect, ASMR fares somewhat better than most online communities. One is the subject matter. Generally relaxation videos appeal to empaths and sensitive types. The lower the volume of comments a community receives, the easier it is to police. Generally, in ASMR communities trolls are escorted off the premises very quickly. Personal animosities are mediated or split up ASAP. Artists typically designate some of the supporters they know best to moderate their communities and because the moderators are invested in the brand they loyally defend it from malicious assailants.

 With all of that said, there is unfortunately a darker side to everything. Sadly, a lot of the most toxic elements of the community are reserved for the artist as an individual rather than the group as a whole. Many ASMRtists have sensitive personalities. They might be a nurse who wants to ease people’s pain; or a mom who wants to nurture; or a drug store cashier who wants to feel a greater sense of purpose. They encounter people who want to bluntly critique their work. From the outside those comments may seem fair and harmless enough, but if they catch someone at the wrong moment they can really sting. Because it's a visual medium performers constantly have people evaluating their appearance. One moment they might hear, “Your chest looks nice in that dress” and the next they might hear “You look pale and sickly. Are you taking care of yourself?” Performers have shared Twitter DMs they received where people called them slurs or made threats against their family. I suspect virtually all ASMRtists have dealt with amateur sleuths curious about their personal information, and I know of at least one who had a stalker show up at their home. In short, they deal with all of the negative aspects of celebrity culture, but without making millions of dollars. But they deal with some of the negatives that therapists do when they try to help people who are mentally ill or miserable. Someone says, “I’m thinking about killing myself and you’re the only person who’s keeping me from doing it. I need you to pay constant attention to me.” I don't want to overstate all of that. We’re talking about a tiny fraction of the audience. But I'm painting such an otherwise - and deservedly - rosy picture that I do want to acknowledge some of the negatives.

To read the rest, see Part Two and Part Three.

Charlie Jenkins is a novelist and transmedia consultant. His upcoming debut novel, American Wrestling 1989, is a melodrama which explore cultural conflicts in the world of 1980s professional wrestling and the ways that broken and discarded people can either heal or hurt one another as they endure their own personal tragedies. He was previously the Creative Director of Chaotic Good Studios and Research Director for The Alchemists Transmedia Storytelling Company, serving clients like NBC, The CW, Blizzard Entertainment and BaseFX.

Agents of Influence: An Educational Video Game to Fight Misinformation

Over the past few years, I have been offering advice to Anahita Dalma and a team of USC students (among others) who have been working on a game, Agents of Influence, intended to address current issues around misinformation and disinformation circulation on social networking platforms. The group is launching a Kickstarter campaign as of today to help raise money to push the project to the next level. Having been impressed by their original insights into games-based learning and media literacy, not to mention their professionalism, I want to give them a chance to share some of their work here.

Agents of Influence: An Educational Video Game to Fight Misinformation

Written by: Michael Warker


Over the last year, we all have had to live much of our lives on the internet, whether it be through work, play, or reading the latest updates on these tumultuous times. With the convenience of the internet comes risks, however, as misinformation can easily masquerade as verified fact, and this threat inspired us at Alterea Inc. to think of a way to help. 

The solution we came up with is Agents of Influence: a spy-themed, educational video game that uses active inoculation theory to prepare students to recognize and combat digital misinformation. This theory is much like an inoculation for a virus, as it posits that exposing students to manipulative argumentation strategies makes them more resistant to subsequent manipulation attempts. Through Agents of Influence, we are aiming to equip a generation of “digital natives” in middle school with the tools and knowledge they need to combat digital misinformation.

Agents of Influence was created around the belief that video games have the capacity to be extremely useful learning tools. We constantly abided by teaching best practices to make sure our game was fulfilling the goals we wanted. Video games are a fantastic tool, as demonstrated by the idea of mastery orientations, which states that true knowledge comes from a desire for learning and understanding, not from a letter grade. Through the fun of video games, students actually want to learn. Studies have also shown that feedback is most helpful when it is “specific” and “immediate”, which is easy to accomplish through the video game format. 

As we researched our game and made connections with teachers, librarians, government officials, and more, we realized that misinformation may be one of the greatest threats facing our generation. During the 2016 election, it was found that the top “fake news” stories outperformed the top real ones on Facebook. Even more troubling, an Ipsos poll showed that 75% of Americans who see fake news view it as “somewhat” or “very” accurate. Since the 2016 election, the world has faced many huge issues that require credible information to combat them, including an ongoing global pandemic. We need tools to fight back against the growing threat of misinformation.

The “truth decay” caused by misinformation has taken hold of the world during the digital age, eroding civil discourse, causing political paralysis, and leading to public uncertainty and disengagement. With so much noise, people are taking the easy route of simply reaffirming their own biases with the information that they consume. The most recent and prevalent of these issues lies in COVID-19 vaccine trust, with many people on both sides of the issue finding information that simply reaffirms their own beliefs, as opposed to engaging in civil conversation with each other. 

These are all immense issues, but the solution lies in every individual’s ability and, more importantly, their willingness, to investigate the information that they consume. To encourage our target audience of middle schoolers to become more engaged and critical of what they see online, we knew that we had to make it fun for them. This reason is why we decided to make a video game to teach them about misinformation. 

Before thinking about the fun, however, we had to determine what we were trying to teach our middle schoolers. We spoke to multiple experts on media literacy, and we investigated how other organizations such as MediaWise, News Literacy Project, and more are educating people about misinformation. From all of this research, we derived three core learning objectives that have guided our game. 

Agents of Influence will teach students how to: 

1) Question the trustworthiness of information.

2) Investigate the trustworthiness of information.

3) Use this investigation to inform their decisions and build better information consumption habits.

If students walk away from this game questioning information they consume, and they have the ability and drive to research to verify their information, then we will qualify Agents of Influence as a success. For added benefit, however, we have also included much more educational content. 

We’ve designed our game around many educational standards, including Common Core, CASEL SEL, NAMLE, ISTE, Learning for Justice Digital Literacy Framework, Media Smarts, California Model School Library Standards, and NCSS C3 Framework. A process which is common to many of these standards is the IRAC, or the Inquiry, Research, Analysis, and Conclusion model. The IRAC model was formative to both our story structure and our game structure during the creation of Agents of Influence. Once we finished our initial education prep, we tackled the hard part: making it entertaining for middle schoolers. 

We discovered that the IRAC model forms well into a mystery story structure, so we decided to make our spy-themed game center around an investigation that students will have to lead. Every one of our three core modules will involve a plot from an evil spy group led by the nefarious Harbinger, and the player will have to work together with their spy team, the Agents of Influence, to stop them before it’s too late. These three modules are centered around cyber danger, political disinformation, and pseudoscience, respectively, so even the theming of each story is tied into our core learning objectives.

Creating a compelling narrative was an essential step in the development of this game, as it has been shown that emotional resonance helps students better retain information. We’re creating an experience that will teach students to question information, which is a new skill, not just information to be regurgitated on a test, so having a narrative that helps them remember the significance of their actions both online and in the real world is essential to a successful game In addition to our compelling narrative,we developed four mini-games centered around our other learning objectives. 

Conversation: Disguised in the narrative context of an interrogation, students must use good conversation practices to talk to a suspect. Every turn, students choose between different dialogue options, putting them in control of how they talk and act. If they’re not careful, however, they could trigger a negative “state,” such as making their suspect defensive or suspicious of them. These negative states are triggered when a student says something aggressive, critical, contemptuous, or alienating to their suspect. In addition, this game also teaches students how to recognize logical fallacies that may arise in arguments so they can better combat these fallacies in their daily lives. 

Research: This game takes place in the all too familiar landscape of a social media feed. Setting the game on social media allows for high transferability of skills, as this is where students would most likely encounter misinformation in their own lives. In our research game, students must flag posts as “accurate” or “misleading” by researching the post’s content in a simulated search engine. They’re also taught lateral reading techniques, along with learning about different misinformation types such as satire, false context, imposter content, and fact versus opinion. 

Analysis: Your artificial intelligence friend, A.M.I.E. is malfunctioning, and you have to prove to her that you’re a master of misinformation by answering her questions. Visually, we have a maze representation of A.M.I.E.’s circuitry, which students can navigate if they correctly answer analytical questions about an article they read. Students answer true and false questions about the purpose of the article, the bias of the author, logical and data fallacies the article employs, and many other relevant skills useful to critical reading. 

Finale: This last game is the emotional and intellectual climax of every module of Agents of Influence. Players must save a fellow student who has had their memories corrupted by misinformation. Through research and critical thinking, the player must remind their classmate who they truly are and save them from the clutches of misinformation. 

Of course, we did not know whether our game would be fun for a middle schooler until we sat down over Zoom with a few of them and heard what they had to say. After playing our research game, a small pool of middle schoolers we tested all said that they would research more. This was after only one version of the game in an early paper prototype. Stacking this exposure along with our other games and our narrative could have a huge potential impact on students. Plus, to top it all off, our testers all had fun and were engaged with the material. One of them even asked if we could make the game for his Nintendo DS so that he could take it on the go.

In addition to these small tests with middle schoolers, we brought in teachers and other experts to playtest our games so that we could learn more from industry professionals about how to enhance Agents of Influence. We also sent out multiple surveys to teachers around the world to learn how to make our game seamlessly accomplish their various classroom needs. Through this research, we learned that designing with ample flexibility was essential, which is why we decided to separate the game into smaller, thirty minute sections that are individually playable. This structure allows for teachers to focus on skills that are most applicable to their classrooms. This feedback, along with the copious other guidance from experts we consulted, has been essential in forming the structure and content of our game.

While our initial tests were small, they have allowed us to prepare our framework for feedback, which will be instrumental in our expanded testing period in the near future. Some of our core questions include asking if players have the motivation to look for multiple perspectives when researching after playing our games. We also want to know if they feel better empowered to fight misinformation online after playing Agents of Influence. So far, our takeaways are solid, but expanded testing will be necessary to verify our information. 

To truly see if our game is effective in preparing students for the looming threat of misinformation, we need additional funding. Going forward, we hope to fund our first module, Agents of Influence: Cyber Danger, and we want thousands of students to play it for our in-depth beta period. We have worked hard to ensure this large-scale test will show similarly enthusiastic results as our initial tests. 

Agents of Influence was created wholly to fit the needs of our educational objectives. Story, character, and gamified elements all arose from the core need to teach students how to better combat misinformation, and we are very excited to get Agents of Influence in front of even more students and teachers in the future. This game has a long road ahead of it, and if you would like to follow that journey, try our prototype, or learn more about the game, please visit our kickstarter or our website for more information.

Michael Warker is a recent graduate of the University of Southern California where he studied Theatre and Screenwriting. He is writing on behalf of Alterea, Inc., which is a story-telling company focused on immersive story-living that lets participants grow and change through the stories they experience. This article was written in association with Anahita Dalmia and Jasper McEvoy. Visit our website here: https://www.altereainc.com/ 

Watching Teen TV: An Interview with Stefania Marghitu (Part Three)

To what degree is teen television an aspirational category targeting those on the threshold of adolescence rather than speaking to those actually undergoing such shifts in their age and social status?

There’s no denying any commercial for profit endeavor is exactly that. But I also do find the solution parents often find is censorship, those that are sheltered from media don’t have the literacy to understand it later on in life. I think it’s why I’m so keen to move on to one of my next hopeful projects on the idea of the digital masquerade in social media. The carefully fabricated authenticity behind the ideal beauty standard on platforms like Instagram is leading young people into a dangerous path. Going back to issues of gender and girl making, and added on to complexities of race, colorist, ethnicity, body image, gender identity, Im seeing a lot more organizations outside of the US invest in taking on these issues. Tracing back to the feminine masquerade to the post-feminist masquerade, and to Safiy Noble’s Algorithims of Opression, this is not a new issue, but a newly presented one.

At some point the media literacy and development does kick in with fictional media as fabricated and aspirational. Every single character in a teen show also breaks down some kind of vulnerability at some point, even if it’s solved within a “very special episode” or given more depth through a serialized plot line. I think there’s a reckoning with body images and a wave of amazing resistance geared towards breaking down the ideal beauty standard online right now too, but far too often the potential psychological or physical damage can already be done. And this is why the pain and suffering from childhood and adolescence carries on into adulthood, as it was never resolved or sometimes not even acknowledged.

Again we’re seeing some paradigm shifts, but those most in need of help in this country are also the least likely to receive any form of support. I dedicated the book to a dear childhood friend of mine who struggled with issues of identity, belonging, and self-worth. When we first met we bonded over the music and film and television that we loved. Going back to our town after the vaccine I see a lot of good for teens today, but it makes me realize how much can still be improved and how things have not changed as much as I wish. Finishing the book during the pandemic really reinforced this drive in me to dedicate my pedagogy and research to marginalized communities. 

A recurring critique of teen television is that the actors playing high school students are a decade or so older and often “too old” to convincingly play the part. Why do networks feel the need to cast actors in their 20s in such role and what are the consequences of this choice for the evolution of the genre?

This is a double edged sword. Age appropriate casting like Schulyer’s choice in Degrassi is geared towards public service authenticity and connection. But because it’s so common, audiences are also all the more aware of it. Gabrielle Cartiers just spoke about lying about her age for her part in 90210 because of ageism. Most audiences can look up or roughly know the twenty something playing a teen and be cognizant. Part of the reason behind the casting is industrial, and also  financial. As Holzman described, there are limitations to hiring a child actor. But it also grants authenticity and can also allow for more storylines. But again at this point it’s been satirized and accepted that it almost helps in acknowledge the false standards of what an ideal teen should look like. It’s poked fun of at the beginning of Never Have I Ever.  That kind of self reflexivity helps show behind the curtain and is also helpful for the young viewers. It can also take the pressure of child actors who have historically struggled in their own lives due to the pressures associated with their stardom.

Teen television has proven unusually successful at generating stars -- from Sally Field to John Travolta, from  Clare Danes  to Zendaya. What mechanisms are used to create teen idols? How does this impact the production of the shows? What are some of the challenges of escaping this teen idol status?

There are mechanisms - marketing, promotion, etc. - to try to make stars and there are also sometimes happenstance. Danes’ series was canceled but My So Called Life and her acting allowed her to be a film star. Field’s career shows how quickly one can go from teen to love interest to mother, highlighting ageism in the industry. Both Field and Danes returned to television later in their careers, which shows the opportunities it can give in contrast to film. Travolta and the Saturday Night Fever sensation is a whole phenomenon, and the story behind The Bee Gees soundtrack as told through their recent documentary merits its own academic study. I think it’s telling a lot of the men who started on TV and became film stars - from Tom Hanks to George Clooney to Leonardo DiCaprio, stayed strong in film. Of course the pipeline of movie stars is already so limited.

Zendaya is definitely a unicorn in the world of former child stars. She tried a bit of film acting, singing, yet still found her way back to television where she thrived.  She choose her projects wisely, has an enviable public image, and is now the youngest lead actress in a drama Emmy award winner. 

As I am writing these questions, I just finished watching the final series of Atypical, which deals with a teen who is on the autism spectrum. It raises questions for me about the notion of “normality” as a key theme in these series? It’s built into the title of  Freaks and Geeks, both groups who feel themselves to be outcasts in their school but for different reasons. My So-Called Life’s Winnie Holzman talks about “people who ‘fit in’ and don’t fit in.”  How has this push to deal with “outcasts” taken different forms across the history of the genre and how might a character like the protagonist of Atypical relate to this dynamic/  Or for that matter, the number of queer characters in recent series?

Atypical was another show I was really delighted to see my students engage with. Historical research has traditionally told us escapist media is where audiences turn to after national and global trauma. Some folks don’t want Covid in their fictional media at all. Some seek that for normalcy and catharsis. I’m really not sure how this might play out in relation to diversity and inclusion given those cyclical histories of shutting out, erasing, or scapegoating marginalized communities. But the positive responses for series like Atypical and Never Have I Ever, as well as docu series and interests in understanding how media history works is also encouraging. 

The recent decision in Tennessee to ban all state outreach with Covid-19 information to adolescents reflects ongoing struggles of adults to exert greater control over teen’s lives, at least among more conservative parts of the culture. Does this make teen television a particularly intense battleground in struggles over cultural politics?

I was actually just talking with a friend who is a teacher in a neighboring state about the upcoming school year right after discussing the new season of Never Have I Ever.  Public school teachers are being told they can’t express their vaccination status or opinions on it. There was a recent episode of Good Fight in which parents sued a private Zoom teacher tutor for “teaching socialism” and that students started critiquing their parents after seeing Parasite through a class lens. It’s all a battleground right now.

The politicization of the vaccine makes “sense” based on the rhetoric, but not on the logics of what vaccines have done for humanity for eradicating diseases. Especially as 12 is the starting age of vaccine eligibility now, but that it depends on their parents’ decisions. Also, of course, as with many of us, teens and pre teens have spent more time at home and potentially with television.  And some folks wanted escapism, but even family dramas like This Is Us showed the difficulties of both being away from family and loved ones, but also the tensions of multi-generational “bubbles” or “pods” and how young people especially were missing out on milestones and social lives.

I know there was a lot of criticism towards young people who “didn’t care” about Covid because it didn’t impact them, but I found that my students were cautious and considerate, though they were also forthcoming of the frustration behind spending a year in college off campus and back home. 

I’m all for criticizing Big Pharma and the inequalities of the health care system, but this is a free vaccine, that is also adding new incentives for folks to get vaccinated in states with low statistics. Meanwhile other countries don’t have the access to the vaccine and citizens which they could have the same protection.

Again I’m seeing both advancements and regressions in these areas. I do think access is key here. Horace Newcomb once said in an interview that he didn’t have access to cinemas growing in the non-urban South, so TV was his entry point into a lot of new worlds. I think about the books and media that was banned and censored while my parents were growing up in Communist Romania. And for teens especially, this is a time when they are gaining independence and forming their own views and perspectives while coming of age. There’s a lot of pressure and to some extent blame being put on educators for pushing agendas and having students turn against their parents. In the new HBO series White Lotus, a great critique of class and privilege, Connie Britton’s character tells her teenage daughter played by Sydney Sweeney that their generation’s legacy is “biting the hand that feeds them, ” not caring about their families who actually know and love them, while caring about oppressed groups who they don’t even know. I think being newly critical and questioning the world around you, including your own privilege, is part of the gears turning towards critical thinking and media literacy.

As college professors, there’s less pressure than teachers in K-12, I am not envious of the constant battles they face in just teaching objective facts in courses like science and history and how that is being challenged, or censorship over the type of literature being taught in English classes. But one interesting aspect of teaching this past year, more students were more in touch with their hometowns as adults, and more self-reflexive about childhood and upbringing. There’s a tendency for some to get out of their hometowns as soon as possible and start anew, which can be liberating of course. And some students stay nearby for various reasons, so this kind of united folks from high school who would have previously not kept in touch. Living in their childhood homes and sleeping in their rooms, being more involved in their local communities, they had a lot of interesting perspectives they previously wouldn’t have.

I had some students in conservative cities or states and they were realizing the changes they can make or impact was greater than in a political bubble or the echo chamber idea. And that’s why we’re seeing folks return to their hometowns or the south to contribute to change. That’s where the good fight is really being fought in those battlegrounds. And I think teen TV has allowed for a lot of relatability and catharsis for college students dealing with their high school past through nee series like Normal People , which also shows the transition to college, Cruel Summer, Never Have I Ever, End of fhe F***ng World, and Sex Education, but also revisiting or exploring past teen TV like Freaks and Geeks, Moesha, Skins, The OC, MSCL and so on. 

From the afterschool specials to East Los High, we can see tensions playing out between the desire to education teens about particular issues or concerns and the entertainment value of these series. What are some of the strategies producers use to negotiate these tensions?

This is where I think the influence of Canadian and British- and of course other non-US- public service television is making both a direct and indirect influence.

Some students don’t realize British shows like Skins and Misfits they loved when younger are on a public service platform- and even if it caused moral panic around the drugs, drinking and sex- and as scholars like Susan Berridge have asserted reassert some of the same stereotypes and narratives of marginalized folks - it was new ground for teen audiences at the time. And when we discuss the failed Skins US remake, it can be traced to adapting the surface level or shock value without a thoughtful or culturally specific eye

As both the folks behind East Los High and Degrassi told me, and for really many teen series that connected to its audiences, talking down is never the answer. Teens are critical when the writing is forced, whether it’s too commercial and like an algorithm of teen speak, or too much of a cautionary tale based on moral panic. Many grow up watching those sometimes terrifying and trite health class videos, or programs like Abstinence Only and D.A.R.E. It’s interesting because a lot of English television scholars have written on how US teen TV influenced the Channel 4 youth series and the American-ness of the teenage experience. And of course we know it’s more common for US to make their own versions of UK shows. But seeing audiences love not only other Anglophone teen series, but from continental Europe and K-dramas, really defies a lot of assumptions about US audience.

And shows like Norway’s Skam, which has been remade in various countries multiple times over, is still revered for its original and the way fans translated for subtitles  and distributed it via Tumblr. And that came from a very savvy Norwegian public service model. I don’t think we’ll see US public service programming beyond childhood series, though Sesame Street and other programs are revered. I see students really want more oversight and checks and balances of the Disney and Nickelodeon programming they grew up on. Children’s programming is not my area of expertise but again I’m seeing more self reflexivity towards that exposure. And the “representation matters” discourse and seeing someone like them on screen matters so much, but again I want to stress to them the cultural and industrial contexts beyond that. And that’s a main goal of the book, and my dissertation, and I think a lot of my work : to trace how socially conscious programming is developed, brought in, distributed and received, and when and why.

Stefania Marghitu holds her PhD from the University of Southern California’s Division of Cinema and Media Studies, with a minor from The Annenberg School of Communication and Journalism. Her book, Teen Television (Routledge Genre Guidebook series), was released in May 2021. You can also find her work published in journals such as Feminist Media Studies, Communication, Culture, and Critique, and Spectator, as well as the edited collections White Supremacy and the American Media (Routledge, forthcoming, 2021) and ReFocus on Amy Heckerling (Edinburgh University Press). 

She is currently a Visiting Assistant Professor at Loyola University New Orleans, where she teaches courses on digital media, film, gender, race, and adaptation. She has previously taught introductory and upper level courses on film, television, and digital media history, aesthetics, industry, and theory at Pitzer College, Chapman University, California State University Northridge, and Columbia College Hollywood.

Watching Teen TV: An Interview with Stefania Marghitu (Part Two)

How have shifts in delivery channels from broadcast networks to cable channels to streaming platforms reshape the genre? You describe Euphoria as a premium cable network series so perhaps it would be a good example to spell out some of your assumptions here.

I think in terms of teaching, and as this book is geared towards teaching introductory students to television, media and cultural studies, it’s important to distinguish both how historical and contemporary platforms function. One thing that has been lost amidst streaming’s prevalence is confusion with streaming “originals.” And by distinguishing the production, distribution, and reception of platforms but also by historical eras at the interaction of social movements, we can also teach students about cyclical patterns and distinguish what is actually “new.”

The interviews and inclusion of race and media scholars within the book shows how different eras allowed for more inclusion, and how droughts occurred. Linking to market demands and assumptions about demographics, as well as socio-political shifts, are key. Students get very excited about representation and visibility, and I want to acknowledge that, but also encourage them to demand more and be discerning in the same way they are towards politics and policy. Kristen Warner, Racquel Gates, Brandy Monk-Payton and Alfred Martin are scholars doing amazing work on these dynamics. Warner’s work on plastic representation has been a tremendous resource for students to understand. 

You cite Hardy Boys, Nancy Drew, and Archie as key early influences on teen television for the baby boom generation.  How and where was this influence felt? It might be interesting to compare the early formulations of these characters with whats happened as all three franchises have been back in production in the past few years.

 The recombinant culture and nature of remakes, reboots and spin-offs is an opportunity both for repeated stagnant formulas as well as room for innovation and updates to beloved past examples. Literary adaptations are constant, and the serialized nature of television lends itself to how novels were first released as well. These series also both allow that prime time hybrid serial that Michal Z. Newman discusses in his work.

The core of these franchises have both a universal appeal and a malleability and flexibility to update and expand. Different eras come back in different futures- it’s most evident in fashion trends and perhaps most apparent in the aesthetics of a media text. Fashion like music and slang is integral to the teen lifestyle identities- Riverdale has this ‘50s look with the darker edge of crime series under Jughead’s narrative of a post-industrial American utopia gone dystopic. It also shows how audiences are split between fans of the genre in general and demographic targets. Fandom and nostalgia pushes audiences one way, and we can have tendencies to either be more lenient or more critical of a beloved media text being newly revamped and released. We tend to think of these as either the tent pole franchises or the cult fandoms, perhaps the “fanboy” at the heart of it too. 

As your book makes clear, the television and music industries are complexly intertwined where the teen market is concerned. Does music television represent an alternative genre to teen television in terms of attracting the youth market? You could have a successful music program which did not directly depict the lives of young people, for example?

Absolutely. Music programming or music related content is by no means limited to age. I do think a strong sense of a teen series identity is rooted in music, fashion, and language. 

It’s hard for me to imagine a successful teen series without a full sense of self- and part of that to me is the inclusion of fashion and costume design, music supervision and soundtrack , casting and acting, production design, in addition to all the traditional above the line markers. This also allows ways to look at how authorship and influence is being shown by those traditionally below the line folks in the industry, but also how you can’t really not include those integral aspects of teen media. There’s a special relationship between how identity and self expression are defined through fashion, slang, and music. The first piece I published on teen media pinpointed how Clueless is still revered by fans through these key elements, and how its influence is still seen. A strong sense of music, fashion, and vernacular sets the tone for so many of these teen series. You can’t think of My So Called Life without thinking of grunge, or The O.C. without indie rock

Your interviews with production personnel consistently point to the “mandates’ that shaped their production choices. What were some of the mandates these producers felt they needed to achieve if they were going to gain the respect and interest of a teen audience?

While my core was in US media, what is nice about including dominant or influential non-US distribution was a way to discuss the differences between public service and commercial models, then into different modes of production, distribution and reception. With Linda Schulyer and Degrassi, the decades long history of the series reveals how her and her colleagues model is essentially the answer to a lot of issues US television comes short in terms of diversity and inclusion both on and offscreen. First of all, that a middle school teacher like Schulyer could enter the media industry, and slowly develop her own series. As a teacher, she saw that educational media geared towards young people talked down to them, giving into moral panics. It’s like the abstinence only model of sex eduction. Those are the areas where teenage pregnancy is highest. Beyond the Canadian mandate, Schulyer gained freedom, and a franchise, once the show provided US audiences what it was missing. Schulyer also hired and enlisted writers, consultants, etc. to speak on topics relevant to teens who could offer expertise. 

Winnie Holzman was in broadcast television during this time that I think helps students understand periods of time where high ratings were crucial for a series, and critical acclaim and awards could not save My So Called Life from cancellation. Again it’s important to have that context when teaching television, and another reason why I find Teen TV the perfect lens for the complexities of the ecosystem.

Eric Damon was the costume designer for Gossip Girl, a show which really brought high fashion to the small screen after its initial success. The star status of Blake Lively after season one and appeal from adults, especially New Yorkers and a rising blog culture and TV recaps and reviews online, all helped boost the show’s fashion credo. And it was the same with his experience on Sex and the City, who made a multi million dollar franchise of its fashion tie ins and product placements. Comparing the relatively low budget of the original Gossip Girl to the new HBO Max iteration that has just premiered also shows how the fandom and legacy of its fashion influence is absolutely integral to the series’ identity. 

East Los High shows how early streaming models allowed this series originally funded by a non profit, with no links to the industry, to exist and thrive. It’s an anomaly to the nature of US television, but those are the interesting moments when the innovation can outweigh the convention. And the work given into the show, on par with the thoughtfulness of Degrassi, is really admirable. I think it’s what a lot of my students write about wishing they had when they were younger- we need more than PBS and Sesame Street and a few other examples. But we can’t seem to get this country to agree for universal health care, much less to further provide services to media when budgets are being slashed for what little there is. 

 Stefania Marghitu holds her PhD from the University of Southern California’s Division of Cinema and Media Studies, with a minor from The Annenberg School of Communication and Journalism. Her book, Teen Television (Routledge Genre Guidebook series), was released in May 2021. You can also find her work published in journals such as Feminist Media Studies, Communication, Culture, and Critique, and Spectator, as well as the edited collections White Supremacy and the American Media (Routledge, forthcoming, 2021) and ReFocus on Amy Heckerling (Edinburgh University Press). 

She is currently a Visiting Assistant Professor at Loyola University New Orleans, where she teaches courses on digital media, film, gender, race, and adaptation. She has previously taught introductory and upper level courses on film, television, and digital media history, aesthetics, industry, and theory at Pitzer College, Chapman University, California State University Northridge, and Columbia College Hollywood.

Watching Teen TV: An Interview with Stefania Marghitu (Part One)

i’ve spent an astonishing number of hours during the pandemic watching shows set in high school and middle school — Sex Education, Never Have I Ever, Atypical, The Baby Sitter’s Club, and so many others. These years were not very fun or comfortable ones in my own life, yet there is something very comforting about the emotional legibility of teen television.

Stefania Marghitu’s newly released Teen TV examines this terrain as a market demographic and genre category with a rich history, one which sheds light on how young people understand their lives across the second half of the 20th century. Each generation seems to discover this genre on its own as producers seek to update recurring themes and conventions with new iconography, new issues that reflect how young people see themselves and their lives. Marghitu combines nuanced analysis of shows, audiences, producers, marketing and programming trends, and shifting media ecologies with interviews with leading producers of teen television series. The resulting book is short but sweet — easy to read and teach but also rich in insight and deeply grounded in historical research.

Marghitu was recently included in a Vice documentary on Teen TV. Check it out!

Marghitu is a recent graduate from the PhD program in critical studies at the USC Cinema School, where I was lucky enough to advise her dissertation — in this case, an exploration of the impact of female writer-producers at different phases of television history. She’s an exceptional television historian embarking on the early phases of her career and it is my pleasure and honor to present her to my readers. Across this three part interview, we dig deep into the premises of her Teen TV book. Enjoy!

Let’s start where your book starts -- “What is Teen TV? Does Teen TV even exist anymore? Do teens even watch television?”

I’m not an essentialist by any means- I mention anecdotes in the introduction that ask these questions while Teen TV was on a new precipice, and the boom continues across television. This line of questioning on its existence and assumed “extinction” reminded me of television and media scholars like Amanda Lotz who took on the cyclical “television is dead” statement. Television has gone through phases that need to be distinguished. In a recent job interview I was asked where I draw the line on what television is, and it’s more about discerning what early broadcast, post-network, cable, streaming, etc is.

Teen TV is both aimed at a demographic (or multiple demographics, such as TV for Teens themselves or Teen TV for fans of the genre). And what I remain fascinated about television and this genre specifically is how we can trace the history just as much as we can apply cultural specificities to different eras, movements, trends, success, failures, and flops. It’s along with the generational cord cutter argument, but it’s also connected to, say, college students traditionally not having televisions. This is what else interested me in the generational aspect of the genre- the idea that teens didn’t want to watch TV in early broadcast because it was for their parents and they were going to drive ins, concerts etc. once they had freedom, or even listening to music or using the telephone instead of TV.. That argument has been made for every generation whether it’s  new music sensation and related venues, shopping, roller rinks, the Internet…

There is presumably no market for Teen TV until there is. That’s commercial art, and the fickle and unreliable nature of the industry. Formulas can only last for so long, what Todd Gitlin calls recombinant culture that makes television go on, and teens are discerning of what they will actually like. The supply and demand nature of the medium is based on certain “universal” aspects of coming of age as well as nuances of each generation.

You describe teens as a “desired, but elusive audience”? Can you explain both sides of that phrase?

Great segue! Teens are fickle. Pre WWII youth culture can be traced to flappers,.I made a joke about how VSCO girls are like this for the pandemic, because the trend was being likened to 1920s flappers. To be a desired audience means you have money to spend in the eyes of commercial television. To be an elusive audience is to be constantly changing demographic that is one of the most difficult to cater to when generational shifts and rebellion against past generations defines the current one. That’s part of teens evolving and gaining independence in US Post World War economies because of the rise in wealth and more expendable income of teens as a new market. The socioeconomic affordances of being a teenager and having that experience, especially an American Teenager, is intrinsically linked to marketing to the new demographic.

I remember taking a music history class as an undergrad and my professor at Indiana University indicating it was the first time in modern history teens tastes were radically different from their parents. Rock N Roll provided this, not just as a music genre, but as a fashion choice, a backdrop to subversion. Alternative Rock, grunge and hip-hop did this for the MTV generation and subsequent programming. The media industries are going to try to appeal to any demographic with money to spend. Again this is an argument of why progressive programming was accepted in the ‘70s- Mary Tyler Moore for second wave feminists with their own jobs and income; The Jeffersons for Black Americans quite literally “moving on up.”

When I was growing up the “tween” category was everywhere. The last year I taught as a graduate student a lot of students said teens shows didn’t speak to them at all, then Euphoria was able to tap in, gaining this fascination from my students more universally than any other series before.  As much as reboots and spin-offs try, they are not a guarantee. And many Teen TV reboots and spin-offs failed, as well as global adaptations. It’s a perfect case study of a genre that cannot be stagnant and must adapt to its demographic.

You describe teen television as a “gender factory,” a phrase which evokes for me Geraldine Bloustein’s phrase “girlmaking” to refer to the way femininity is produced, performed, and enforced in everyday life. So, how would you describe the role that television plays in the construction of teen’s gender identity as compared with socialization through social media or face to face encounters? Does television produce or consume or both gender norms?

I think it’s no surprise those interested in television genre such as soap opera, and all of the amazing early television scholars abroad and in the US discussing the discourse of gender and genre, are also attracted to Teen TV. Just as early teen media for middle class girls was targeted to future housewives, that still had to change. Television can both influence girl making and reflect it. And just as women in soap operas and melodramas, or audiences could queer media texts, interpreted texts beyond a one way understanding - it’s why I love citing Stuart Hall’s early writing on popular media serving as beyond propaganda, whether capitalist or nationalistic or any other intended messages, Teens are coming of age and learning along the way a new understanding of the world around them and their own identity. And teens and youth movements are traditionally associated with change and demanding more each generation.

I have a hard time telling students that writing on the “impact” of a media text is actually quite difficult- and of course it’s because media studies scholars are in direct opposition to the overly simplified “media effects” conclusions. If a generation of teens are more accepting of, and demand, equality for marginalized groups, then there is an initiative to appeal to that if it’s also market driven.

One of my favorite assignments is a media biography, and I have so many students who write about a turn or development towards understating who they are, who they want to be, and what they won’t let themselves be deterred by. Taste and material cultures and branding and lifestyle determines a lot of what give teens these feelings of identity. It’s a push pull between a commercial industry and capitalist system trying to package and promote and those trying to make sense of where they’ll fit into that world.

Aniko Imre gives this brilliant lecture on Neoliberalism in Introduction to TV, and it’s very complex and sprawling, but for some students it clicks in this really amazing way. This is why media that supports traditional expectations like gender norms can be totally rejected, and that’s when it has to change.

 We know surface level representation and tokenism is not the answer, and students who look at Teen TV see how the lens of media industries and other systems and hierarchies of power can provide an understanding of how ideology works. Because it’s their identity and their future at stake. And it’s what’s amazing about connecting to students through what they care about and connect to.

 If the teen in teen tv is a demographic group, a market construct, a genre category, a discursive formation, etc., then might we need a new genre distinction for Preteen TV to refer to shows like Never Have I Ever, The Babysitter’s Club, and Pen15 to distinguish it from teen shows that tend to skew much older and increasingly deal with sexual matters?

Absolutely.  Watching Pen15 was very cathartic for me, seeing a reflection of this awkward, confusing, strange time in your life back at you. Not just the age but the time period. It’s also why Freaks and Geeks is actually quite complex- the geeks are more like the preteens and the freaks are the teens. They’re distinguished not just by social category but also by age. We see this in Pen15 too- different levels of puberty and milestones reached at certain ages, entering these new spaces as not just the youngest and most naive, but most likely to be the lowest rung of middle school, or high school’s, hierarchy.

And we also see immigrants, children of immigrants, teens dealing with grief or loss, alongside understating gender and sexual identity, experiments with drugs and alcohol, mental health issues. And I think what makes the Preteen shows distinguishable is that parents and their children can watch together. Preteens may not quite be ready for the intense nature of the new HBO Max series, but also they’re not interested in the sexual milestones. It’s this stage where you want to be released from being a child- think about the shifts in development as well as clothes, bedroom decor.

All of these shows also present new independence but also feeling confined by parents, and that desire to bond with friends. Pen15 is about two best friends dealing with things together but also moments of tension and rupture, it taps into that same age range that Broad City did for post-college twenty somethings. Babysitters Club puts both likely and unlikely friends together, almost on the same fundamentals as a workplace sitcom, because they’re these future entrepreneurs essentially. 

Never Have I Ever is another one that so many Indian Americans and children of immigrants have identified with. Mindy Kaling has this background in both workplace sitcoms with The Office and rom-com hybrids with The Mindy Project and Love Actually. So Never Have I Ever captures something even more untapped than her previous projects.

And something like the thoughtful reconfiguring of the characters, cultural specificity and subsequent casting in the new Babysitters Club can appeal both to the nostalgia of past fans and new audiences of the preteen demographic. And it’s a balance between friendships, school, family, storylines also including parents and other family members like Claudia’s grandmother.

My students once had an argument about an indigenous coming of age series and its cancellation. One student very quickly looked up the reviews and said the show shouldn’t just keep going because of the “optics.” The student who originally mentioned it said she quite enjoyed it, although it was not perfect. And many first seasons, or first few seasons aren’t. It’s about which series are granted that time to develop, it became a conversation about privilege and what stories get to be told.

Stefania Marghitu holds her PhD from the University of Southern California’s Division of Cinema and Media Studies, with a minor from The Annenberg School of Communication and Journalism. Her book, Teen Television (Routledge Genre Guidebook series), was released in May 2021. You can also find her work published in journals such as Feminist Media Studies, Communication, Culture, and Critique, and Spectator, as well as the edited collections White Supremacy and the American Media (Routledge, forthcoming, 2021) and ReFocus on Amy Heckerling (Edinburgh University Press). 

She is currently a Visiting Assistant Professor at Loyola University New Orleans, where she teaches courses on digital media, film, gender, race, and adaptation. She has previously taught introductory and upper level courses on film, television, and digital media history, aesthetics, industry, and theory at Pitzer College, Chapman University, California State University Northridge, and Columbia College Hollywood.

An Invitation to Continue the Dialogue on Educomunicación: North-South and South-South collaborations. (Part 5)

An Invitation to Continue the Dialogue on Educomunicación: North-South and South-South collaborations. (Part 5)

by Julio-César Mateus, PhD and Andres Lombana-Bermudez, PhD

In the final post of our series, we would like to address some critical questions about the future and current state of educomunicación that were not fully discussed in the webinars, and share some ideas for promoting the South-South and North-South dialogues on media education and media literacies. 

Andres: 

As we have listened in the previous entries of the series, educomunicación, as a Latin American movement and tradition, offers situated knowledges and practices that can be useful for building a more plural ecology of media education and media literacies. However, given the diversity of educomunicación initiatives, systematizing the heterogeneity of practices can be a daunting task. Moreover, there is also the challenge of translating local and situated knowledge to other languages. One of the recent efforts that aimed to extend and amplify the Latin American dialogue on educomunicacion is the collective book  Media Education in Latin America (2019). What have we learned from this project? What are the key problems and thematics addressed in that book and how can they help us to promote the North-South and South-South dialogues?

Julio Cesar:

Indeed, we edited the book Media Education in Latin America to offer an updated state of the development of this topic in the region. Likewise, we also published it in English to promote dialogue with the Anglo-Saxon world, contributing to overcome language barriers that have historically impeded a more fluid and horizontal relationship between South and North. In Latin America, educomunicacion traces a parallel route to the media literacy traditions of the Anglosphere, most of which remain relatively unknown in English-speaking countries. As Michael Hoechmann says in the book, for the most part, the Anglosphere has not been good at South-North dialogue, besides two exceptions with considerable traction in English-speaking countries: the book “How to Read Donald Duck” by Ariel Dorfman and Armand Mattelart (1971), which is used to teach the concept of cultural imperialism, and the other, and perhaps most significant, common ground is the transformative work of Brazilian educator Paulo Freire. He did not work directly in media education, but his methods and ideas changed the teaching and learning dynamics in both Latin American educomunicación and the Anglosphere traditions of media literacy.

On the other hand, “one must remember that educomunicación was born from North-South and South-North dialogues. It is not a nativist tradition, but rather draws on multiple sources that include key authors. Jesus Martin-Babero cites Benjamin, Barthes, Williams and many others; Mario Kaplun (1998) references Bruner, Piaget, Vygotsky and Pierce; Freire himself quotes Lukacs, Lenin, Buber and Althusser. That is a recurrent factor in Latinamerican scholars”. (Hoechsmann, 2019, p. 265). 

While editing the book, we realized it was going to be useful to organize and preserve the memories from the long tradition of Educomunicación. One of the most prominent actors of this movement, Brazilian professor Ismar de Oliveira Soares (2019), explained that the first initiatives began in the middle of the 1960’s, focusing on film analysis. In fact, the first project of introducing movie analysis at schools, called “Plan de Educación Cinematográfica para Niños (DENI)”, rapidly spread to many countries. In the 1970’s, Media Education agenda aggregated printed media and, mainly, television production. At first, the predominant theoretical tendency at this period was the behaviorism theories of effects. In Latin America, moreover, many of the media education promoters working with popular groups in the communities added another perspective. As Oliveira recalled, they used “media analysis” to reinforce the critical awareness of audiences, in order to resist “cultural invasion”, as a result of the powerful media production coming from the North. Later, the strength of Latin American concepts in the field of communication for social development, with an emphasis on participatory planning, has had a profound impact on the construction of the concept of educommunicacion. Sadly, throughout this process, the school remained marginal. 

We concluded in the book that media education has had a varied presence in national policies in Latin America, and has not adequately responded to the citizen rights approach or the theoretical tradition of educomunicación. In the last 30 years, Latin American governments have made efforts to connect schools to audiovisual media, and later with digital technologies, but from the perspective of media as teaching assistants. Even when teacher education and training programmes on technology use have been undertaken, the balance is not positive because in most of these, technological action has taken priority over pedagogical action.

Andres: 

In terms of media education and literacy policies, there is a lot of work to do at the national levels in most of the countries from the region. As you mention, policy makers in Latin America have prioritized technological interventions over pedagogical ones. Digital transformation is part of several national policies but has tended to focus on promoting access to the Internet, computers and mobile phones and e-government rather than supporting access to knowledge and developing media literacies among the population. Although some governments have even included the terminology of “digital citizenship” in their policies and discourse, its conceptualization has been limited to enabling bureaucratic procedures online instead of supporting the participation of citizens across the multiple dimensions of digital societies.  Media education and educomunicacion can help to build that kind of active citizenship as our societies make the digital transformation. And it is precisely here where I see a space of opportunity for doing South-South and North-South collaborations, and for joining efforts across multiple stakeholders. The opportunity to support media education and media literacies, in all their plurality, across formal (e.g. schools, universities) and informal (e.g. home, museums, libraries) contexts is here. The pandemic and post-pandemic has even made it more urgent. And there are interesting examples of how those collaborative efforts are already taking place. The initiative of DW Akademy in Central America we heard about in one of our webinars is one of them. Other initiatives such as EducaMidia in Brazil and DigiMente in Argentina, Colombia and Mexico, reveal the potential of North-South and South-South collaborations for developing and promoting open media education resources and programs in and out of school, and for combining global and local knowledges and practices. However, the opportunities go beyond curricular and educational interventions. Which other efforts can we develop to promote a more plural ecology of media education and media literacies?

Julio Cesar: 

I think global scientific publishing gives us some opportunities. For instance, using journals to spread and discuss educomunicación approaches and practices. Spain and Brazil created two more than 20 years ago: Comunicar, born in the University of Huelva and founded in 1993, published in English among other languages, and a year later, Comunicação e Educação, published in the University of Sao Paulo. Both are committed to disseminating experiences and research related to Educomunicación. Likewise, other journals have published special issues regarding these topics, such as the one we edited in Contratexto in 2019. Also the Latin American Association of Communication Researchers (ALAIC), with UNESCO support, launched an English-written journal, which is an excellent example of the willingness to share beyond the Spanisk-speaking academic community.

Also, in 2010, Roberto Aparici gathered texts written by Ibero-American leaders in the field, editing in Spanish the book Educomunication: beyond the 2.0, an exhaustive map of what has been said and done about media in relation to education from the 1980s to date. 

May be the most promising initiative in the region regarding educomunicación is Alfamed, an Euro-American inter-university research network on media literacy which brings together more than 50 researchers from 13 European and Latin American countries, aiming to promote opportunities and to improve the academic research and dissemination on "media education". This network has promoted five congresses in many countries and the 6th will be held in Arequipa, Peru, in 2022. These events are excellent opportunities for making more visible educomunicacion. 

Andres: 

One of the questions that we couldn't fully explore in the two webinars given the limitations of time, was the one related to the possibilities of educomunicacion and media education in a context characterized by increasing datification and by the deployment of artificial intelligence systems and algorithms. This context is global, national and local, and varies according to different material, cultural and geographical conditions. However, it is pervasive across countries and is shaping our everyday lives. The pandemic and post-pandemic have revealed how it is transforming all dimensions of society and how it is also exacerbating structural inequalities. From the economy to education, politics, culture, and health, datification is reconfiguring the processes of participation, decision-making, and access to opportunities in our societies. Hence, this process is also transforming democratic processes of deliberation and governance, and changing how citizens exercise their agency and rights. In order to participate in data-driven societies, people need to understand these complex transformations and become aware of how our citizen rights and responsibilities, decision-making, and governance are changing. This is of course, a process that requires access to knowledge, critical thinking and dialogue among multiple sectors, and that needs to be supported in schools and out of schools. How can the educomunicacion approach help us to navigate and to solve the inequalities and other wicked problems that societies and communities confront in the midst of datification?

Julio Cesar: 

When it comes to inequality as well as other social and political problems, we should try to focus our efforts in empowering the individual, and society at large, so they can navigate a culture that is becoming more and more digital. The jump from a protectionist to a liberatory paradigm,  one that genuinely supports “emancipation” is a key factor in the educomunicación approach. Many initiatives are already working on that basis even if they do not use that terminology. The objective of achieving parity in education opportunities  and literacy skills may be an ideal, but it's still a goal nonetheless that can orient interventions and policies.

Andres: 

I think that educomunicacion efforts to promote emancipation, freedom, creativity, social justice and self-determination through critical thinking, dialogue, collaboration and participation can be very useful today. Particularly, I think that supporting the development of critical awareness of how data infraestructures work, how they are shaped by power dynamics, and how they are changing our social lives can foster active citizenship and strengthen democracies.  However, given the abstract qualities of datification, becoming aware of it can be a difficult task. Although there is an increasing visibility in the public discourse about how using digital platforms can affect our privacy, security, and emotions, there is still a lot of work to do in terms of helping people to understand how our rights, agency and self-determination are changing. The dialogic pedagogy that characterizes educomunicacion offers some useful strategies for concretizing datification and grounding that process in real life stories told by students and teachers. Through dialogue it is possible to learn about how others experience algorithms and data in their everyday lives when they use digital platforms, and develop critical awareness of how datification affects people differently according to their social positions. This is an issue that is directly related to structural inequalities and social injustice, and that has been addressed by several scholars and activists working on critical data studies, digital rights, data justice and design justice. It is also an issue that is currently being addressed by several media education initiatives in the Global North but that still has not been fully tackled by educomunicacion in Latin America.

And here I see an opportunity to further develop North-South collaborations and dialogues. The term data literacy, for instance,  is already being used across the Global North and has become part of educational and learning initiatives that offer tools and resources for teachers, students, and people in general. Recognizing data practices as literacies helps us to support critical awareness and reflexivity of datification, and contributes to a more complex understanding of how citizenship has changed, and continues to change in our digital and datified world. For instance, the Data Detox Toolkit offers online resources for helping people control and understand their digital privacy, security, and wellbeing. Another initiative, the Data Culture Project is a self-service learning program offering free activities and tools for improving people's capacity to work with data. Among the different learning experiences available on the Digital Citizenship + Resource Platform, there is a collection of open educational resources for teaching and learning about data, algorithms, and artificial intelligence. Like these, there are other data literacy projects that are currently being developed (the Critical Big Data and Algorithmic Literacy Network has mapped many of them) and that can be put in dialogue with Latin American educomunicacion initiatives. Such kind of collaboration could not only support teaching and learning about datification in the Global South but also help to better understand how diverse data practices, experiences and imaginaries vary across different contexts and subjects. Although the process of datification is global, it varies across national and local contexts according to specific social, cultural, economic and political configurations.

[image: social DATA justice]

Julio Cesar: 

I believe media education has the potential to help individuals in exercising their political rights in a number of issues, like the right to access information. An immediate challenge in the region is to honor the long tradition of educomunicacion and "de-technologize" the way we look at the media. Today, to speak about citizenship demands that we speak of the digital not only in relation to skill development, but also in relation to the generation of an ecosystem. Faced with scenarios with precariousness and gaps, as the practitioners said in one of the webinars, it is difficult to avoid focusing on technology because it is the greatest demand: that is why most of the educational solutions in the region have relied on the purchase of tablets and other digital devices for schools. Yet, the problem of educomunicacion is not just about the jump from a discipline to a political program. A recent paper by Narvaes (2021) reminds us that there is a risk in believing that technology alone can resolve the problems of political democratization and knowledge democratization, even without explaining how these technologies improved the cognitive and communicative processes in the first place. 

Andres: 

Addressing the political dimension of education and communication, as mixed and intertwined processes, is key for building citizenship and democracies today. That is how the educomunicación approach based on dialogical and critical pedagogies aimed to empower individuals and vulnerable populations so they could become aware of the world and transform it. However, as you mention, the risk of assuming an educational approach that focuses on functional skills and technology use is high given the rapid digital transformations that are taking place in culture, economy, politics and all social dimensions. There is a pressure to become digital, to connect, to use digital infraestructures for working, learning, socializing and entertaining. That pressure affects governments, industries and citizens, and has become stronger during the pandemic and post pandemic. While communities and societies cope with that it is important to keep in mind that fostering citizenship and democracy requires dialogue, tolerance, “listening to and encountering the other.” Supporting the development of dispositions such as dialogue and critical thinking and reflexivity needs to be balanced with the development of instrumental and functional skills. This can be quite a challenge because the business model and design of most digital platforms and technological innovations we use today tends to privilege efficiency, fast interactions, consumption, and data extractivism. However, transforming that business model and infrastructure design also opens a space of opportunity for imagining alternative futures, data decolonization,  and advancing media education.  What is in your opinion about the future of educomunicación?

Julio Cesar: 

Regarding future perspectives, I want to recall some of the opportunities we identified in our book. The first is to recognise the existence of media education in Latin America as an interdisciplinary field of study and action, and to recover the theoretical basis of educomunicación instead of focusing on purely digital and technological rhetoric. Updating it and continuing to develop educomunicacion knowledges and practices is crucial for designing public policy interventions in our countries. One of the most important points for Latin American public policies is to overcome the understanding that educational technology and media education are different issues.

Secondly, we have to project media education to other audiences and spaces beyond the school context. This is an opportunity to generate new dialogues among generations and groups about the impact of media in society. On that matter, we need to incorporate dynamics that are characteristic of social media and of digital literacies as part of a training centred around the person and democratic values. This can help to combat intolerant speech in social media, diminish the circulation of ‘fake news’ and other issues that may endanger peaceful and respectful coexistence.

And finally, to be consistent with the educomunicación approach, we have to encourage media education that is oriented toward confronting inequality in rural or marginalised areas, starting with their own interests and needs. Media education is not only about getting technology there but also about guaranteeing fundamental rights to citizens that are usually disregarded, favouring their voice and their culture.

Works cited:

• Aguirre Alvis, J. L. (2020). Development Communication in Latin America. En Servaes, J. (ed.), Handbook of Communication for Development and Social Change. Springer. https://doi.org/10.1007/978-981-15-2014-3_135 

• Aparici, R. (2011). Educomunicación: Más allá del 2.0 (Comunicación Educativa). Gedisa.

• DeSignis. (2015). Tres décadas de educomunicación en América Latina. Caminos desde el Plan Deni. https://issuu.com/oclacc/docs/tres_decadas_de_educomunicacion_en_/275  

• Dorfman, A., & Mattelart, A. (1975). How to Read Donald Duck. Pluto Press

• Freire Institute. (n. d.). Paulo Freire. https://www.freire.org/ 

• Lumen Learning. (n. d.). Media Effects Theories. https://courses.lumenlearning.com/suny-massmedia/chapter/2-2-media-effects-theories/ 

• Mateus, J. C., Andrada, P., & Quiroz, M. T. (Eds.). (2019). Media Education in Latin America (1st ed.). Routledge. https://doi.org/10.4324/9780429244469 

• Narvaez, A. (2021). Educomunicación y alfabetización mediática: ¿tecnología o cultura ? ¿adiestramiento o educación? Pedagogía y Saberes, (55), 155-174. https://doi.org/10.17227/pys.num55-12245  

Authors

Julio-César Mateus (@juliussinmundo) is Full Professor and researcher in the Faculty of Communication at the University of Lima, Peru. He coordinates the Education and Communication research group and is editor-in-chief of the academic journal Contratexto. His PhD thesis explores the media literacy approach in teachers' initial training in Peru. He has published Media Education in Latin America (coedited with M.Teresa Quiroz and Pablo Andrada for Routledge) and several articles in indexed journals.

Andres Lombana-Bermudez (@vVvA) is an assistant professor of communication at the Universidad Javeriana in Bogota, Colombia. He is also an associate researcher at the Centro ISUR at the Universidad del Rosario, and a faculty associate at the Berkman Klein Center for Internet and Society at Harvard University.  He is the co-author of  "The Digital Edge: How Black and Latino Youth Navigate Digital Inequality" (2018), “Youth and the Digital Economy: Exploring Youth Practices, Motivations, Skills, Pathways, and Value Creation” (2020), among other publications.

Mapping Educomunicacion Projects (Part 4)

Mapping Educomunicacion Projects (Part 4)

Edited by Julio-César Mateus, Ph.D. and Andres Lombana-Bermudez, Ph.D

Mapping the geography of educomunicación projects in Latin America is a pending task. Inspired by Martin-Barbero´s cartographic method we tracked four media education projects across the region that stand out for their contributions and diversity of approaches. These initiatives range from NGOs to community groups doing educomunicacion at schools, and through Internet and community radios. While some have been working for more than 20 years, others are just starting. Some have been born in the digital world and connected to the global media education debates, others come from local educomunicacion traditions and have recently transitioned to the digital. Such heterogeneity of projects reveals the evolution of educomunicacion in the region and the diversification and fragmentation of the field. On the 15th of june we reunited them at the second webinar “Post Pandemic Educomunicación. Learnings from Latin America 2”

“A mí no me la hacen” (AMNMLH) is a media education group born in Peru in the middle of the pandemic. Composed of an interdisciplinary team of communicators, philosophers, artists, geologists, internationalists and pedagogues, their objective is to provide a “bottom-up” response to the infodemic and public distrust in media. The group’s effort complements several Peruvian “fact-checking” initiatives which have had a limited impact fighting disinformation. Through workshops in schools, universities and institutes, as well as the creation of educational content on networks, AMNMLH seeks to “empower people so that they can judge the messages and media ecosystems where they are found”. For Manuel-Antonio Monteagudo, coordinator of the group, “many fake news thrive because one wants to question, but lacks the training to articulate their response. We want to explain to people how information creators work, how this information reaches us, how our biases process it, and how to evaluate the quality of the information we access ”. In a local context characterized by the proliferation of disinformation related to the pandemic and the 2021 Peruvian presidential elections, AMNMLH work has been on demand. Currently, AMNMLH is  organizing a Peruvian media education symposium, which will take place from October 26 to 29, 2021, during UNESCO's Global Media and Information Literacy (MIL) Week.

Poster of the school contest “Media education to decipher the world” sponsored by AMNMLH 

From Argentina, Ezequiel Passeron is the co-founder of an NGO called Faro Digital, whose purpose is to promote a reflective, critical and creative digital citizenship. “We consider the Internet as a public space, where it is crucial to have moments of critical thinking about our relationships with information, with others and with the world,” he says. Among other projects, the training program ‘I am digital’ (#SoyDigital) stands out, supporting creative and imaginative uses of social media among youth and adults.  The program promotes strategies for dealing with  issues such as grooming, gender violence, hate speech and disinformation. Another project is ‘Digital RAP, a contest promoted in conjunction with UNICEF. “RAP” is an acronym for respect, art and participation, values ​​that the members of Faro Digital seek to promote through the voices of young people.

[Image: Workshops Faro Digital]

Free on-line workshops “How to confront hate speech” and “Children and screens” sponsored by Faro Digital in Argentina 

Members of Faro Digital also participate in research projects and are aware of the need to disseminate scientific knowledge through the new formats and channels that are familiar to youth. Along these lines, together with the Esbrina Group of the University of Barcelona, ​​they created the “Educar con sentido” (“Teach with sense”) program, a cycle of conversations and interviews with voices from the educational, communication and media ecosystem.

For its part, Comunicarte, in Colombia, is a group led by Alma Montoya that has been working for more than 25 years in educommunicacion projects, specifically with school children in conflict zones across the country. “We work on human mobility issues, whether due to migration or displacement; climate change; and human rights, such as freedom of expression”. From the production of information sheets to workshops, they found a strategic ally in community and educational radio stations. As Alma says, “it is not about becoming a teleclass, but rather generating a real and tangible learning community; remember that today there are no longer senders and receivers, but prosumers, all of us. The media are in everyone's hands, and the real question is about the content”.

[Image: Comunicarte]

School radio project in Arauquita, Colombia (Photo: Comunicarte)

Along the same line of work with vulnerable groups, the DW Akademie, the center of the German channel Deutsche Welle for the development of media and financed with public funds, promotes several initiatives of media and information literacy (AMI) in various countries, including some in Central America. For Patricia Noboa, the DW AMI project coordinator, “the idea stems from the right to access information and freedom of expression, that's why we deal with things like populism, propaganda, misinformation, etc.” They help to build networks of individuals and organizations that work on digital rights issues and participate in the public debate. At the regional level, they have developed training kits for indigenous groups, as well as an e-learning course to teach informational skills in a pandemic context. At the local level, they support initiatives conceived by local partners (mainly community radio stations and youth groups) through participatory methodologies.

Challenges and opportunities on the field 

For Ezequiel Passeron, the social and digital gaps in the region are the main stumbling block, something that became even more visible with the pandemic. “Social and cultural inequalities, pre-existing and reproduced in digital spaces, should be the flags to raise from activism with a clear horizon: continue to expand the human rights of all”. Alma Montoya highlighted the challenge of access, explaining that in many of the rural areas of Colombia where she works, there are children and youth who must travel long distances to have internet access. These gaps transcend connectivity barriers and are mixed with structural socioeconomic inequalities. 

The four projects aim to promote dialogue and “the encounter of the other,” the basis of educomunicacion. “The school cannot be virtualized simply by copying what was done in class. We must promote spaces where teachers and student interventions are welcomed”, says Ezequiel. Along the same lines, Patricia Noboa explained the urgency of adapting interventions to different local contexts and people's needs. That is why DW Akademy works in collaboration with local communities for their projects. For instance, “our partner in Guatemala, Comunicares, worked with members from each language community in the country and with a group of teachers to teach AMI to indigenous youth. They speak their language as well as Spanish, and that ensures that they help their communities''. Such is the importance of conceiving projects that adapt to the local context: “A game, a course, a workshop can be adjusted to the reality of another country or region”, Patricia pointed out.

Workshop on media literacy and indigenous languages in Guatemala  (Photo: Comunicares)

In terms of sustainability each project is different. While some have robust public financing as in the case of DW Akademie, others have very limited funds as those provided by the Colombian Ministry of Education and local governments to Comunicarte. “Sometimes communities call us in an emergency and we have to pay the tickets, bring something to keep us warm, and find a place to sleep. We don´t say no to anything”, Alma explains. Other projects have self-financing mechanisms as in the case of AMNMLH, whose team is made up of part-time volunteers. “We do interventions in universities that allow us to have a common fund for future initiatives such as podcasts, digital materials or series on media education”, explains Manuel. In the case of Faro Digital, they fund their activities and work through multiple funders, “with international and private organizations, with the state, etc.”

Finally, the projects are very clear about the advantage of the interdisciplinary approach to create new pedagogies and imaginaries. Creating spaces for reflection and criticism goes beyond schools and educators: they can take place inside of people's homes, where media also reaches. “Digital gaps, of course, are not limited to connectivity problems: they include socioeconomic conditions, cultural capital, disposition of the homes, etc.”, affirms Ezequiel. In this sense, a major challenge is to form multidisciplinary teams that address complex issues, such as how artificial intelligence changes the production and consumption of content. “In order to be critical we must understand how digital platforms work.” It is from that critical, creative and dialogic perspective that Latin American projects meet and respond to the principles of educommunicacion. 

Webinar Panelists 

Manuel-Antonio Monteagudo (@ManuelMontea) is a French-Peruvian filmmaker and coordinator of “A Mi No Me La Hacen”, an association dedicated of providing Media and Information Literacy workshops and stimulating a national conversation on MIL as a way to answer to the Infodemic and reinforcing democracy. He has a Bachelor’s Degree in Political Sciences from Sciences Po Paris, and a Master’s Degree in Journalism from Sciences Po’s School of Journalism. He directs fiction and documentary projects in France and Peru.

Ezequiel Passeron, (@farodigitalok) Institutional director at Faro Digital. Ph.D candidate in “Education and Society” at the University of Barcelona. Coordinator of “Conectados al Sur” network. Associate professor at the University of Barcelona. Member of “ESBRINA — Subjetividades, visualidades y entornos educativos contemporáneos (2017SGR1248) research group. His research activity focuses on the intersections between communication, education and digital media.

Patricia Noboa Armendáriz (@PatyeNoboa), is the DW Akademie program director in Guatemala and Central America. She develops media projects for freedom of expression and access to information focused on Media and Information Literacy (MIL). She is Ecuadorian journalist with experience in radio, television and media production for youth. She has a degree in communication and journalism from the Pontificia Universidad Católica del Ecuador and a Master in “International Media Studies” from the University of Bonn and the Hochschule Bonn-Rhein-Sieg, in Germany.

Special thanks: 

We want to thank Alejandro Núñez Álberca for his committed help transcribing the two educomunicacion webinars, and editing and translating this post. Alejandro is a research assistant at the Institute of Scientific Research (IDIC) at the University of Lima and a lecturer in the Peruvian Institute of Arts and Design (IPAD).

“Welcome again to Chaos.” Educomunicación’s Challenges and Opportunities. (Part 3)

“Welcome again to Chaos.” Educomunicación’s Challenges and Opportunities. (Part 3)

Edited by Julio-César Mateus, Ph.D. and Andres Lombana-Bermudez, Ph.D.

Continuing with the dialogue about Educomunicación, the media education movement and tradition from Latin America, in this entry we share another excerpt from the webinar “Post Pandemic Educomunicación. Learnings from Latin America 1” (May 25, 2021) and listen to the voices of Maria Teresa Quiroz (Peru), Silvia Bacher (Argentina), Amparo Marroquín (El Salvador) and Eduardo Gutierrez (Colombia). We start listening to their answers to the following question: 

What are the most pressing challenges and opportunities that Educomunicacion confronts as countries, cities, and communities adapt to the new normality of the pandemic and post pandemic?

Silvia:

We face several challenges. To begin with, it is undeniable that connectivity is the new face of inequality. Latin America was already a continent of inequalities, but the pandemic has enhanced them even more. 

I cannot avoid mentioning that there is a gender bias: women support the household, their children, and sometimes they have also had to replicate the pedagogical content that schools used to supply in a traditional way. It is a time of crisis, but it is also urgent to account for these aspects. My fear is that we do not take the time to be critical and end up replicating pre-pandemic cultural patterns to the post-pandemic world. 

This crisis is an opportunity to transform culture, to look at technology and the links between people with different eyes. New ideas allow us to build different paths in education and communication, otherwise this will again be a wasted opportunity. We do not know what will happen and we are building it as we go along, but we have to start at some point.

Maria Teresa:

Economic and social gaps have widened as poverty, inequality and vulnerability have spread. The great challenge is to address our diversity. The history of education and communication is different depending on the country, but the only common thing is this urgency to assume social heterogeneity, to bring the voice of all to public policies.

A great Peruvian educator, Juan Cadillo, is optimistic and thinks that in this period has significantly increased the mastery of teachers on digital tools. They are developing very creative proposals to address their precarious situation. Of course, as far as the media industry and large technology corporations are concerned, as well as other public and private institutions, a lot of support is required for these initiatives to grow. 

It is true that several institutions have prepared learning strategies, as well as all kinds of materials, but their success depends on developing and designing them with teachers. It is not a process that can be done from above. A constant dialogue must be maintained with the teachers who are on the front line, who know the children, their interests and talents.

Eduardo Gutiérrez:

It is something that my work has taught me to notice. For years I have been in direct contact with teachers, I am close to them in many places and I gather their experiences. This seems important to me because, historically, the work of teachers has been made invisible. The school, as a space where knowledge is produced, is very little valued. This invisibility must be addressed from below: how do we teachers face this situation and build possibilities? These are some of the current challenges of educommunication.

A curious thing has happened with the pandemic. Many teachers have had time to meet, talk and compare experiences. The network in which I work, Chisua, has an international seminar on knowledge networks, school and discipline, and every week we have meetings and presentations of teachers from Chile, Argentina, El Salvador, Colombia, etc. “Chisua” is a Muisca word that means 'knapsack' (mochila in Spanish), it is a good metaphor for what we do: we weave knowledge, we carry and share our content with others, motivating them and recognizing the teacher as a mobilizer of citizenship. It is an emerging network of collective actions. 

This collective took advantage of the production of content for a series called Viajemos por Colombia desde casa (Let's travel through Colombia from home). There we have managed to include themes of interculturality, diversity, territory, rurality, etc. Several dimensions that are not traditionally addressed in pedagogy.

Amparo:

From Guatemala, El Salvador, Honduras and Nicaragua, in Central America in fact, educommunicacion has developed with several particularities. On the one hand, due to the war and social conflicts of the 1990s, liberation theology has had a considerable influence on how we think about education and its emancipatory role for children and youth. At the same time, another particularity has been the migratory phenomena in the region, which have reached international media long time ago, are accelerating the process of appropriation of technologies. This was happening even before the pandemic, and I see it as something very specific to the region in contrast to the rest of Latin America.

During the pandemic we did several exploratory works with different groups of teachers. In one of them we asked people what was their predominant feeling during this crisis. Almost all of them said they felt anguished, fragile in the face of everything that was happening around them. And it is doubly hard because, commonly, the networks and technology of the algorithmic culture give us a sense of control over the apparatus. From this secure position, suddenly, comes COVID-19. The main thing in this scenario is to know how to deal with so much uncertainty. The educommunicacion projects are much clearer about that. Communication and education, I believe, raise the question of how we want to live together and build a society that can cope with the levels of anxiety.

How can educomunicación, as a media education and media literacies approach, mediate the social, economic, and political crisis that are unfolding in several Latin American countries?

Silvia: 

I would rather say those are  the new challenges of educommunicacion. When Martín-Babero was in Buenos Aires he gave a presentation called "Welcome back to chaos". Note: he said 'again', and he saw chaos as an opportunity. He said that the school must face multiple dilemmas, and that if society does not invent new forms of integration for children, they will be left out of it as citizens and will only exist as consumers. Chaos produces fear, but it is also a notorious opportunity. The problem, I believe, is that our vision is of the 20th century, but the problems are of the 21st century. We continue to ignore the voices of the youngest, we forget that democracy must go hand in hand with informed control of the media. We must put technology at the service of human beings, defend freedom of participation and dialogue through the media. Without that the dream of democracy is diluted. This is not new: Freire said it back in 1993, and there is still much to be done. 

Eduardo: 

It is precisely in these cracks and fractures caused by chaos that there are many opportunities to think. In the Colombian case, schools are raising questions about water, memory and territory. From these school spaces we can understand the living pluralities that exist among us. When I see young people protesting I ask myself what happened in their school that led them to decide to march for a different country, how was their civic education. School is a very important place to think about these questions, as long as we do not talk about what the school is but about what it could be: new futures, new ideas.

Amparo: 

It is evident that we are societies with very absent states. Faced with this, the processes of educommunicacion are fundamental from a local dimension: what kind of schools build a citizenship without roots, where the main dream of young people is to go elsewhere? This is where we have challenges and questions. As Freire said, we are still very silenced cultures. Our teachers, I think, are still very afraid to create content in social networks, even if it is beneficial for their class. The fear of creating one's own things should gradually disappear.

Webinar Panelists 

Maria Teresa Quiroz holds a PhD in Sociology. She is director of the Scientific Research Institute of the University of Lima (IDIC) and vice-president of the National Institute of Radio and TV of Peru (IRTP). She is also past-president of the Latin American Federation of Social Communication Schools (FELAFACS) and former dean of the School of Communication at the University of Lima. She has studied the relationship between children and young people and the media. Among other books, she has published Todas las voces: comunicación y educación en el Perú, Jóvenes e internet: entre el pensar y el sentir and La edad de la pantalla.

Silvia Bacher holds a Master 's degree in Communication and Culture (Universidad de Buenos Aires). She is a journalist specialized in culture and education, awarded first prize by the University of Buenos Aires for education reporting. She is the founder and director of the NGO Las Otras Voces, Comunicación para la democracia. awarded by UNESCO Media and Information Literacy Alliance Award. Bacher has published Navigate among cultures. Education. Communication and Digital Citizenship (2016), and Tattooed by the Media: Dilemmas in Education in the Digital Era (2009). She is a member of the National Advisory Board at the Audiovisual Communications in Childhood (CONACAI). She coordinates in Argentina ALFAMED an Euro-American inter-university research network on media literacy for citizenship. https://silviabacher.com.ar/

Eduardo Gutierrez is a professor at the Communication Department of the Pontificia Universidad Javeriana of Bogotá, where is a member of the research groups Communication, Media and Culture, and Young Cultures and Powers. He is a participant of the Political Communication and Citizenship Group of CLACSO. He is also a doctoral student in Education at DIE-UD of the Pedagogical, Distrital and Valle Universities, and holds a Master’s Degree in Communication from the Pontificia Universidad Javeriana. Gutierrez is a member of the Editorial Committee of the journal Palabra Clave (Colombia), of the editorial team of Chasqui (Ecuador) and of the external editorial board of Comunicación Social (Bolivia).

Amparo Marroquín, Ph.D., is a professor and researcher at the University of Central America (UCA) of El Salvador since 1997. Her work has focussed on cultural studies, reception studies and communication in Central America. She is also Visiting Professor at UCA Nicaragua; the Faculty of Social Sciences (FLACSO) in Quito, Ecuador; the National Universities of La Plata, Córdoba, Jujuy and Salta in Argentina; and the University of La Frontera in Chile, among others. She is part of the coordinating team of the research group on Political Communication and Citizenship for CLACSO and researcher of the International Center for Studies on Epistemologies Borders and the Political Economy of Culture in Temuco, Chile.

Educomunicación Matters: Media Education in a Pandemic and Post Pandemic World (Part 2)

Educomunicación Matters: Media Education in a Pandemic and Post Pandemic World  (Part 2)

Edited by Julio-César Mateus, Ph.D. and Andres Lombana-Bermudez, Ph.D.

In the second post of the series on Educomunicación, we present an excerpt of the dialogue we had on May 25, during the webinar “Post Pandemic Educomunicación. Learnings from Latin America 1”  co-organized and co-hosted by Universidad de Lima (Peru) and Universidad Javeriana (Colombia). In this webinar we had the opportunity to listen and exchange ideas with four Latin American researchers that have worked on media education and media literacy projects in different countries of the region for several years: Maria Teresa Quiroz (Peru), Silvia Bacher (Argentina), Amparo Marroquín (El Salvador) and Eduardo Gutierrez (Colombia). Below we present, translated to the English language, their responses to the questions Why is educomunicación important today? Why does it matter?

María Teresa Quiroz: 

At this juncture, educommunicacion is at the center of new forms of learning. A recent report published by the Economic Commission for Latin America and the Caribbean (CEPAL) suggests that we should ask ourselves about the role of education and its relationship with information technologies. In this sense, covid-19 has brought educommunicacion to the very center of education and has eliminated the distance between the two. This approach invites us to conceive education not as a sum of courses, but as a set of different learning processes that must be carefully designed and prepared.

The educommunicative approach helps us to see that this cannot be reduced to a simple technical problem. There is a serious deficit in the ability to make proper educational use of the new platforms. For that we need children and teachers to develop practices that allow them to communicate and form the same social ties through other modalities: from face-to-face to blended and distance learning. From the educommunicacion perspective, we wonder what the effects of this situation will be on the competencies of citizens, especially those who are still in training.

This is especially critical in Latin America, where it is estimated that 120 million children have lost their classes. One of the biggest problems to be solved, according to the World Bank, lies in unequal access: we have children living in very dissimilar geographical, health and social conditions. 

Silvia Bacher:

Personally, I still prefer to think of 'education and communication' instead of educomunicacion, even if it sounds longer. I think it is easier to understand that we are dealing with fundamental rights for millions of people, the same rights that allow us to influence and transform social scenarios. This makes it easier to understand the urgency for post-pandemic life.

We cannot look at covid-19 and its effect without understanding the continuity of policies that have failed, even if they have had some successes. We have worked hard on education and communication, but it has not been enough. If we do not guarantee and demand that governments account for this disparity, the rights of thousands of young people and children will be at stake. 

We can imagine many possible futures, but if we don't listen to the voices of youth and children I don't think we can get very far. This is what we work for in Las Otras Voces, to promote the exercise of the right to communication from childhood and, from there, to strengthen participation in democratic life. What we need most is to reinforce critical thinking about the media and information, because we run the risk of deepening and expanding inequalities in Latin America. 

Eduardo Gutiérrez:

We have to think about the place of educommunicacion in our culture. From this point of view, we should not only talk about the school, but also about different emerging forms of work that dynamize social and educational processes. By inverting the game, by seeing it from the broad spectrum of the social fabric, the map expands and we can involve different elements.

Something that helps us a lot is the metaphor of “the anthill”: there is a real collective work, but it depends on a multiplicity of processes, actions and educommunicacion strategies that operate in isolation, and little by little show us results. We have a multiplicity of processes and actions in the field of educommunicacion, teachers and institutions work each in their own work, but they all advance the system even if they are not aware of it. The objective is to unify our actions, to be able to weave networks.

We do not have the possibility of seeing the complete map of everything that is being done, but we know that we have an 'anthill' of various actions that are already underway. We have to find the emerging configurations, see the dialogue between actors, the network of contents that is being produced. Educommunicacion must work with this proliferation of initiatives, but also encourage them and allow them to meet and work together.

[Image: Anthill]

Amparo Marroquín:

The processes of educommunicacion based on the Latin American heritage give us the tools to build new citizens who understand the importance of combating caudillismo, populism and authoritarianism, which is key in a region that is democratically very fragile. At the same time, we have a challenge: classrooms remain deeply oriented towards rote learning. The pandemic has only transferred a very precarious type of education to the virtual environment, while meaningful student interaction is very little. The student interacts with guides, takes exams, and nothing else. 

The way we think about education has to change if we want to take advantage of this opportunity. In Central America we still risk falling into technophilia, believing that giving a laptop to every child solves the whole problem. That kind of intervention does not mean that we are training the child to be a citizen, not from an educommunicative paradigm. That is why we must bet that education-communication has a place in the communities again. The problems of mental health, but also those of inclusion, coexistence, food sovereignty and respect for the environment, should be discussed at school. 

María Teresa Quiroz: 

Carlos Scolari says that the pandemic throws us into a world of uncertainty, affects the social fabric and the way children socialize. Faced with this, the educommunicative paradigm proposes a space for reinvention. We have to rethink school and education in conjunction with technological and economic changes. The compulsory public school, created three centuries ago, is outdated today and other forms of teaching, which strive to fight against the misunderstanding of the digital environment, are urgent.

Webinar Panelists 

Maria Teresa Quiroz holds a PhD in Sociology. She is director of the Scientific Research Institute of the University of Lima (IDIC) and vice-president of the National Institute of Radio and TV of Peru (IRTP). She is also past-president of the Latin American Federation of Social Communication Schools (FELAFACS) and former dean of the School of Communication at the University of Lima. She has studied the relationship between children and young people and the media. Among other books, she has published Todas las voces: comunicación y educación en el Perú, Jóvenes e internet: entre el pensar y el sentir and La edad de la pantalla.

Silvia Bacher holds a Master 's degree in Communication and Culture (Universidad de Buenos Aires). She is a journalist specialized in culture and education, awarded first prize by the University of Buenos Aires for education reporting. She is the founder and director of the NGO Las Otras Voces, Comunicación para la democracia. awarded by UNESCO Media and Information Literacy Alliance Award. Bacher has published Navigate among cultures. Education. Communication and Digital Citizenship (2016), and Tattooed by the Media: Dilemmas in Education in the Digital Era (2009). She is a member of the National Advisory Board at the Audiovisual Communications in Childhood (CONACAI). She coordinates in Argentina ALFAMED an Euro-American inter-university research network on media literacy for citizenship. https://silviabacher.com.ar/

Eduardo Gutierrez is a professor at the Communication Department of the Pontificia Universidad Javeriana of Bogotá, where is a member of the research groups Communication, Media and Culture, and Young Cultures and Powers. He is a participant of the Political Communication and Citizenship Group of CLACSO. He is also a doctoral student in Education at DIE-UD of the Pedagogical, Distrital and Valle Universities, and holds a Master’s Degree in Communication from the Pontificia Universidad Javeriana. Gutierrez is a member of the Editorial Committee of the journal Palabra Clave (Colombia), of the editorial team of Chasqui (Ecuador) and of the external editorial board of Comunicación Social (Bolivia)

Amparo Marroquín, Ph.D., is a professor and researcher at the University of Central America (UCA) of El Salvador since 1997. Her work has focussed on cultural studies, reception studies and communication in Central America. She is also Visiting Professor at UCA Nicaragua; the Faculty of Social Sciences (FLACSO) in Quito, Ecuador; the National Universities of La Plata, Córdoba, Jujuy and Salta in Argentina; and the University of La Frontera in Chile, among others. She is part of the coordinating team of the research group on Political Communication and Citizenship for CLACSO and researcher of the International Center for Studies on Epistemologies Borders and the Political Economy of Culture in Temuco, Chile.

Educomunicación: Dialogues on Latin American Media Education (Part One in a Series)

Earlier this year, I had a Zoom conversation with Andres Lombana-Bermudez, a former student from my years at the MIT Comparative Media Studies Program who worked with Craig Watkins at the University of Texas-Austin for his PhD and who has returned to his native Columbia to do work on media literacy. He shared with me some writing he had done on the Educomunicación movement. These theories have had an enormous impact across Latin America but are little known in the global North. I instantly knew that I wanted to share some of these conversations through this blog. Andres reached out to other colleagues, including his co-editor on this series, Julio-César Mateus, a leading voice in the media literacy movement, to bring more South American voices into this conversation. And the results, you see before you. I will let them take the story from here.

Educomunicación:  Dialogues on Latin American Media Education. (Introduction to the Series - Part 1)

By Julio-César Mateus, Ph.D. and Andres Lombana-Bermudez, Ph.D.

Media education and media literacies, as fields of knowledge and practice, continue to evolve in the 21st century through initiatives, programs and policies developed at global, national and local levels. In the past years, the context of the pandemic, characterized by the exacerbation of inequalities, proliferation of information disorders, and virtualization of many education and learning processes, has given these fields more relevance, as  multiple stakeholders have explored ways to cope with the crisis. However, as media education and media literacies gain more attention around the world there is an urgent need to recognize them as an ecology of diverse knowledges and practices developed across different contexts. Particularly, there is a need to make visible approaches to media education and media literacies from the Global South that have not been fully included in the international and Global North debates, policies, curricula, and research. Due to the existing power asymmetries and epistemic hierarchies, some of the situated knowledge and practices developed in the Global South remain to be rediscovered.

This entry is the first of a series about "educomunicación," a media education movement from Latin America that has been developed and applied since the 1960s by scholars, activists and practitioners working in this region. The series is based on two webinars co-organized by Universidad de Lima (Peru) and Universidad Javeriana (Colombia) in May and June 2021, in where educomunicación researchers and practitioners from different Latinamerican countries got together to exchange ideas and talk (in Spanish) about the current state of educomunicación,  and the opportunities and challenges confronted during the pandemic and post pandemic context. Our aim is to provide a space for amplifying and translating the ongoing educomunicacion dialogue that is taking place in Latina America, and to help to overcome some of the language barriers and epistemic asymmetries that have shaped the international discussion about media education and media literacies. In this way we hope to contribute to a more plural and diverse media education and literacy ecology. 

Before entering the educomunicación dialogue, we offer, as a prologue, a brief explanation of the political and pedagogical foundations of the Latin American media education and media literacy movement.

The Origins of Educomunicación

The term “educomunicación” is a portmanteau in Spanish language (in Portuguese the term is “educomunicação”) combining the words education and communication. This mix of words highlights a radical understanding of education and communication as interrelated fields that are transformational and liberatory. Its approach differs from others in its attention to the political and cultural dimensions of communication and educational processes, which is a hallmark of Latin American thought. Educomunicación emerged in the 1960s and 1970s as part of several efforts developed in the region to empower marginalized populations, transform structural inequalities, and gain economic, cultural and political autonomy. Like other theories born in Latin America during this period of time  (e.g. Dependency Theory, Participatory Action Research), Educomunicación unfolded as an alternative paradigm for reconfiguring power asymmetries, particularly those related to the processes of education and communication.  As Barranquero points out in our recent book Media Education in Latin America (2019): 

“Unlike functionalism or dissemination-focussed approaches that are dominant in other contexts, educomunicación emphasised the cultural and political dimension of the education process, as well as its inter-subjective and transformative nature. This emphasis was the result of a series of common conditions and ‘historical singularities’ in the region: military dictatorships, economic dependence, cultural imperialism, exclusion of the lower class, etc.” (Barranquero, 2011).

Debates on the role of the media became more political and institutional in the 1970s around the world. UNESCO began to take an interest in communication policies through its International Council for Film and Television (ICFT) in 1973, defining that:

“Education in communication (“educación en materia de comunicación”) can be understood as the study, teaching and learning of modern means of communication and expression which are considered an integral part of a specific and autonomous field of knowledge in pedagogical theory and practice, as opposed to their use as aids to teaching and learning in other fields of knowledge such as mathematics, science and geography.” (Morsy, 1984, p. 7, in Barbas, 2012, p. 139).

In 1977, the International Commission for the Study of Communication Problems was created, chaired by Sean McBride, Nobel Peace Prize winner, which produced the famous report Many Voices, One World: Towards a New, More Just, and More Efficient World Information and Communication Order, whose objective, markedly political, was to criticize the existing world order in the field of communication, characterized by media concentration and asymmetry in the quality of information between the so-called "first and third world" countries, generating a risk of cultural domination. Here, the emphasis was placed on the recognition of communication as a fundamental right, and on the responsibility of the mass media for culture "since they not only transmit it, but also select and originate its content" (MacBride, 1993, p. 55).

Report: Many Voices, One World

At the same time, an important movement promoting media education began to take shape in Latin America, which, with its own nuances, acquired the denomination of Educommunicacion. The pioneering work of Paulo Freire on the "pedagogy of the oppressed" and Mario Kaplún on popular communication, among other authors, allowed the development of a relevant critical production at the theoretical level and inspired the simultaneous development of many initiatives and interventions of critical media literacy and popular education, with greater or lesser scope, but always in small spheres that did not escalate to public policy levels. 

Dialogical, Critical, Participatory and Liberatory: The Principles of the Educomunicación Approach

Given the diversity of cultural and social contexts of the Latin American region it is not surprising that Educomunicacion interventions and projects have taken multiple forms when developed in specific communities and territories. The approach has also evolved conceptually and adopted different names such as “communication in education,” and “education for critical audiences” to emphasize particular objectives and contexts. However, at the core of all the diverse Latin American media education initiatives developed during the past five decades, we can identify certain principles that structure the media education practices and relationships of the educomunicacion approach. Promoting and fostering dialogue, critical reflection, participation and collaboration among educators and learners, and aiming to empower individuals and communities so they can become aware of the world and transform it, are at the core of the educomunicación. These principles have their roots in some of the alternative paradigms developed in Latin America such as dialogic pedagogy, community development, and popular education and communication (“educación y comunicación popular”) .

We can find the roots of these principles in the works of several intellectuals such as Paulo Freire, with his radical proposal of a critical pedagogy based on dialogue and horizontal, reciprocal and interactive relations, which highlights the political dimension of education aimed at social change and its liberating function. Also in the work of Jesús Martín-Barbero, who criticized the fact that the school has systematically refused to accept the cultural decentering of the book as an intellectual axis and as a privileged instrument of access to information. Similarly, the works of Guillermo Orozco from Mexico and the Chilean-Equadorian Valerio Fuenzalida, developed valuable pedagogical proposals for the critical formation of audiences, framed in the so-called "reception studies". 

Authors such as the Peruvian Rosa María Alfaro and the Uruguayan Mario Kaplún were decisive in promoting a communication more linked to community development, understanding the media more as "relationships'' than as a set of technologies (Trejo-Quintana, 2017, p. 233). For popular communication, educomunicacion meant an opportunity to reduce social inequalities and overcome the obstacles to access knowledge, ideas from which emerged several teleducation projects mainly with community radios. Several community radio projects developed in Argentina, Bolivia, Colombia, Ecuador, Nicaragua and Peru, for example, have empowered indigenous, rural, women and youth populations and fostered sociocultural change (Montoya 2010).

In short, educommunication proposes a model based on dialogue and conceives learning as a liberating process that assumes knowledge as a collective creation. It adopts the premise that society is intrinsically mediatized and the school cannot remain quiet in the face of this condition. The media, under this view, play a role of mediation or intermediation that does not necessarily facilitate the communicative process, but rather creates new problems and challenges, and demands another type of more complex view. As Jesús Martín-Barbero (1999) said, "What is at stake in the relationship between education and the communicative ecosystem is the relationship between the school and its society".

Works cited

• Barbas, Á. (2012). Educomunicación: desarrollo, enfoques y desafíos en un mundo interconectado. Foro de Educación(14), 157-175. https://forodeeducacion.com/ojs/index.php/fde/article/view/22 

• Barranquero, A. (2011). Rediscovering the Latin American Roots of Participatory Communication for Social Change. Westminster Papers in Communication and Culture, 1(8), 154-177. https://www.westminsterpapers.org/article/id/159/ 

• Freire. P. (2017) Pedagogy of the Oppressed. Penguin Classics

• Kaplún, M. (1992). A la educación por la comunicación: La práctica de la comunicación educativa. Santiago de Chile: UNESCO/ OREALC.Mateus, J.C.; Andrada, P.; & Quiroz, M.T. (2019) Media Education in Latin America. London: Routledge.

• Martín-Barbero, J. (1999). La educación en el ecosistema comunicativo. Comunicar, 13, 13-21. https://doi.org/10.3916/C13-1999-03 

• McBride, S. (1980). Many voices, one world: towards a new, more just, and more efficient world information and communication order. Unesco. https://unesdoc.unesco.org/ark:/48223/pf0000040066 

• Montoya, A. (2010). Logros y desafíos de la educomunicación desde la razón y la radio popular en estas últimas tres décadas. Cedal. Comunicacion Educativa. Revista No.51.

• Trejo-Quintana, J. (2017). Apuntes sobre la incorporación del término alfabetización mediática y digital en América Latina. Píxel-Bit. Revista de Medios y Educación(51), 227-241. http://dx.doi.org/10.12795/pixelbit.2017.i51.015

Further Readings

• Lombana-Bermudez, A. (2020) Re-discovering Educomunicación: The Latin American Movement of Media Literacy Education. Flow Journal. Vol 27.03. December 2020.

• Mateus, J.C. & Quiroz, T. (2017). Educommunication: a theoretical approach of studying media in school environments. Revista Latinoamericana de Ciencias de la Comunicación, 26(14), 152-163. http://alaic.org/revistaalaic/index.php/alaic/issue/view/29

• Soares, I. (2009). Caminos de la educomunicación: utopías, confrontaciones, reconocimientos. Nómadas, (30), 194-207.

Authors

Julio-César Mateus, Ph.D. (@juliussinmundo) is Full Professor and researcher in the Faculty of Communication at the University of Lima, Peru. He coordinates the Education and Communication research group and is editor-in-chief of the academic journal Contratexto. His PhD thesis explores the media literacy approach in teachers' initial training in Peru. He has published Media Education in Latin America (coedited with M.Teresa Quiroz and Pablo Andrada for Routledge) and several articles in indexed journals.

Andres Lombana-Bermudez, Ph.D. (@vVvA) is an assistant professor of communication at the Universidad Javeriana in Bogota, Colombia. He is also an associate researcher at the Centro ISUR at the Universidad del Rosario, and a faculty associate at the Berkman Klein Center for Internet and Society at Harvard University.  He is the co-author of  "The Digital Edge: How Black and Latino Youth Navigate Digital Inequality" (2018), “Youth and the Digital Economy: Exploring Youth Practices, Motivations, Skills, Pathways, and Value Creation” (2020), among other publications.

Back to School Special: The American Film Comedy Tradition

At the very start of my career, more than three decades ago, I taught.a class on the comedian comedy tradition at the University of California-Santa Barbara, and I began the class with a screening and discussion of Laurel and Hardy’s The Music Box. This term, I am returning to this terrain with a class on the American Film Comedy, which again, out of nostalgia, I am beginning with The Music Box. So much has changed in my understanding of film comedy between the two that I thought have The Music Box as a constant might keep me somewhat grounded. It occurs to me as I am about to post this that my first two books, Textual Poachers: Television Fans and Participatory Culture and What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic are mirrored by the two classes I am teaching this term. Everything old is new again

What motivates me to get back into film comedy is the sheer range of film texts which are available now that were impossible to access three decades ago. These new discoveries are surfacing as a consequence of archival restorations, silent film festivals, small dvd publishers, and the writings of film buffs and collectors. As a consequence, I am trying to introduce students to canonical works (Chaplin, Keaton, Langdon, and Lloyd still structure the opening weeks of the class) but also to disrupt that canon by showing how those performers are connected, existed alongside, and drew upon many performers who are today much less well known. For example, generations and generations of women as comedians, as directors, have been written out of the classical accounts of film comedy, but we now can see many of their works if we care to focus our attention in their direction. Similarly, we can start to locate today’s minority comics in a larger historical context and thus to reappraise the range of radicalized representations within the film comedy tradition with a greater engagement with Black creative agency.

As a consequence, the class places much greater attention onto screening works of comedy from all periods and writing responses to what you see than it places on film scholarship per se. I plan to tell my students that given the necessary choice to either watch films or do the readings, they should watch the films. And I am including many films, accessible online, to watch outside the class time, even as I am cramming the class period with clips, shorts, and features which we will watch together, hopefully with some collective laughter, despite the fact that we will all be wearing masks.

My book, What Made Pistachio Nuts? explores the intersection between film comedy and comic performance in other media. I plan to extend this work by showing connections between film comedy and comic expression in circus and popular theater, radio, television, recorded sound, standup, printed comics. and other related media practices. I will similarly be putting American film comedy into conversation with other international traditions and I am going to look for points where I can connect historic film comedy with contemporary comic texts.

If there’s a weak point here, it is that I give disproportionate attention to comedian-centered comedy at the expense of the romance comedy tradition — this reflects my interest in performance and my own knowledge and investments as a film scholar. I need. to figure out how to integrate that romantic tradition more fully into the course the next time I teach it, but I opted to follow my passion this go around.

CTCS 688: Moving Image Histories: Methods and Approaches 

The American Film Comedy

Fall 2021 | 4.0 Units

COURSE DESCRIPTION AND LEARNING OBJECTIVES

Across the semester, we will explore the American film comedy tradition -- from the role of slapstick in early cinema to the role that contemporary screen comedies play in fostering debates around gender, race, and sexuality. My approach is decisively revisionist with canonical figures and text read alongside those that history has tended to forget -- for example, what happens when we re-center silent film comedy from Chaplin, Keaton, Lloyd, and Langdon, to incorporate a broader range of recently rediscovered silent performers, including a number of women who had their own followings at the time? Performance is a recurring focus here, in speaking not only about comedian-centered comedies but also romantic and social comedies. Performance is understood in relation to a broader range of media traditions -- particularly those associated with popular theater (the circus, Vaudeville, music hall, Commedia Dell'arte) but also radio, records, nightclubs, and television. Through this focus on performance, we gain core insights into bodies, pleasure, and emotions, but also disruption and transgression, as central attractions of the cinema. Along the way, we will be asking what it means to write the history of a film genre as pervasive as comedy.

Note: As we will discuss across the course, I do not guarantee that any given film will make you laugh. Comedy as a genre is only partially defined through laughter. Laughter, like comedy, has a history. Comedies may be especially interesting when they confront us with things that once made people laugh -- in specific cultural contexts -- but challenge us to understand why they were meaningful in the past. I also am pretty sure at some point in this class, you will find something you will find offensive. These films deal with stereotypes and show us more directly than many other genres do attitudes about race, ethnicity, sexuality, gender, class, etc., which are problematic. There is a power in confronting these moments directly and understanding how they fit into the larger history of American film comedy rather than avoiding them and simplifying our understanding of the past.  Performers of color often struggled to nuance or disrupt these stereotypes through their staging of them, and we do them a disservice if we ignore these important sites of struggle. 

REQUIRED BOOKS AND SUPPLEMENTARY MATERIALS

Henry Jenkins and Kristina B, Karnick, Classical Hollywood Comedy

Rob King, Slapstick Comedy

Additional readings will be accessed via Blackboard or online. In addition to viewings via the SCA Viewing Portal, many viewings will be accessed online. See the Media Resources List attached to this syllabus for a full listing of required viewing/listening for the semester.

GRADING BREAKDOWN

• Collaborative Writing Round 1 20%

• Collaborative Writing Round 2 30%

• Collaborative Writing Round 3 30%

• Final Paper 20%

DESCRIPTION AND ASSESSMENT OF EACH ASSIGNMENT 

Collaborative Writing: Students will be paired and asked to engage in a written conversation each week around the class materials. This is your space to frame questions, offer reflections on what you have read and seen, and help to set the class agenda. I will write feedback intended to further push your thinking. Each student should right at least 500 words per week. Ideally, each group will go back and forth twice each week so you want to allow time in your course preparation to do this.  This will be the primary means you demonstrate mastery over the course material. I will give grades three times across the term (Round 1 20 percent, Round 2 30 percent, Round 3 30 percent)

Final Paper -- Students will write a 10-page paper on a topic of their choosing related to the course content. They should consult with me as your plans are taking shape.

 WEEKLY SCHEDULE 

The following weekly schedule is subject to change. Please consult the Blackboard site for the most current information, assignments, and due dates. 

Each week, we will be watching (and listening to) a range of different media artifacts—short and long—which help us to explore diverse aspects of that week’s topic.  Many weeks, we will be watching films prior to class as part of the assigned homework. We will be providing information about the best way to access this material. If you have to make a choice between watching the films and reading assignments, focus on watching the films. But where possible, do both and incorporate reflections on each into your collaborative writing. I will be assuming familiarity with video/audio material assigned prior to class as we discuss each week’s material.  You should be asking questions as you watch and you should bring those questions to bear on our discussions, in class and on Blackboard.

Week 1 Rethinking the History of American Film Comedy (Thursday, August 26th)

Readings:

James Agee, “Comedy’s Greatest Era,” Life, 1949, https://scrapsfromtheloft.com/2019/11/17/comedys-greatest-era-james-agee/.

Henry Jenkins and Kristine Brunovska Karnack, “Introduction: Golden Eras and Blind Spots -- Genre, History, and Comedy,” Classical Hollywood Comedy.

Louise Peacock, “Clowns and Clown Play,” in Peta Tait and Katie Lavers (eds.), The Routledge Circus Studies Reader (London: Routledge, 2016).

Rob King, “Historiography and Humorlects,” Journal of Cinema and Media Studies 58(3), Spring 2019.

Maggie Hennefeld, “Looking for Leontine: My Obsession with a Forgotten Film Queen,” Los Angeles Review of Books, 24 September 2019, https://www.lareviewofbooks.org/article/looking-for-leontine-my-obsession-with-a-forgotten-screen-queen/.

Recommended Reading: 

John Rudlin, “Playing Commedia,” Commedia Dell’Arte: An Actor’s Handbook (London: Routledge, 1994).

Henry Jenkins, “How Is It Possible for a Civilized Man to Live Among a People Who are Constantly Joking,” What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992).

In Class Screening:

The Music Box (James Parrot, 1932) (27:42) 

The Sprinkler Sprinkled (Louis Lumiere, 1895) (1:12)

Une Histoire Roulante (Alice Guy Blache, 1906) (2:35)

The ? Motorist (W. R. Booth, 1906) (2.26)

Lea and the Ball of Wool (Lea Giunchi, 1913) (3:36)

Polidor contro La Suocera (Ferdinand Guillaume, 1912) (8:18)

Onesime Clockmaker (Jean Durand, 1912) (8:04)

Be Reasonable (Roy Del Ruth, 1921) (15:34)

Mable’s Strange Predicament (Mabel Normand, 1914) (11:54)

Week 2 The Pie and the Chase (Thursday, September 2nd)

Readings:

Donald Crafton, “The Pie and the Chase: Gag, Spectacle and Narrative in Slapstick Comedy,” Classical Hollywood Comedy.

Tom Gunning, “Response to Pie and Chase,” Classical Hollywood Comedy.

Douglas Ribblet, “The Keystone Film Company and the Historiography of Early Slapstick Comedy,” Classical Hollywood Comedy.

Murial Andrin, “Back to the ‘Slap’: Slapstick’s Hyperbolic Gesture and The Rhetoric of Violence,” Slapstick Comedy.  

Recommended Reading: 

Peter Kramer, “Derailing the Honeymoon Express: Comicality and Narrative Closure in Buster Keaton’s The Blacksmith,” Velvet Light Trap 23, Spring 1989.

Noel Carroll, “Notes on the Sight Gag,” in Andrew Horton (ed.), Comedy/Cinema/Theory (Berkeley: University of California Press, 1991).

In Class Screening:

His Wooden Wedding (Leo McCarey, 1925) (19:35)

Pass the Gravy (Leo McCarey, 1928) (24:40)

What’s the World Coming To (Richard Wallace, 1926) (10:36)

The Playhouse (Buster Keaton, 1921) (22 mins.)

Week 3 Crazy Machines and Their Inventors (Thursday, September 9th)

Before Class Screening:

Buster Keaton: The Art of the Gag (2015) (8:35)

Backstage (Roscoe Arbuckle, 1919) (19:39)

The Electric House (Buster Keaton, 1922) (23:30)

One Week (Buster Keaton, 1920) (22.24)

Readings:

Tom Gunning, “Crazy Machines in The Garden if the Forking Paths: Mischief Gags and the Origins of American Film Comedy,” Classical Hollywood Comedy.

Henry Jenkins, “‘That Keaton Fellow Seems to be the Whole Show’: Buster Keaton, Interrupted Performance, and the Vaudeville Aesthetic,” in Andrew Horton (ed.), Buster Keaton’s Sherlock Jr. (Cambridge: Cambridge University Press, 1997).

Rob King, “The Art of Diddling: Slapstick, Science and Antimodernism in the Films of Charlie Bower,” in Daniel Ira Goldmark and Charles Keil (eds.), Funny Pictures: Animation and Comedy in Studio-era Hollywood (Berkeley: University of California Press, 2011).

Recommended Reading:

Tom Gunning, “Mechanisms of Laughter: The Devices of Slapstick,” Slapstick Comedy.

(cont.)

In Class Screening:

Sherlock Junior (Buster Keaton, 1924) (45 mins.)  

Now You Tell One (Charles Bowers, 1926) (22:19)

It’s A Gift (Hugh Fay, 1923) (10:12)

Plastered (Norman Taurog, 1930) (10 mins.)

Jackie Chan: Master of Silent Comedy (9:13)

This Too Shall Pass (O.K. Go, 2010) (3:53)

Week 4 Tramps, Immigrants, and Other Outsiders (Thursday, September 16th)

Before Class Screening:

Easy Street (Charles Chaplin, 1917) (23:27)

The Immigrant (Charles Chaplin, 1917) (24:31)

Modern Times (Charles Chaplin, 1936) (1:27:24)

Readings:

Jennifer M. Bean, “The Art of Imitation: On the Originality of Charlie Chaplin and Other Moving Images Myths,” Slapstick Comedy.

Tom Gunning, “Chaplin and the Body of Modernity,” Early Popular Visual Culture 8(3), 2010.

Elizabeth L. Sanderson, “Bert Williams: Minstrelsy and Silent Cinema,” Spike Lee’s Bamboozled and Black Face in American Culture (Jefferson, NC: McFarland, 2019).

Recommended Reading: 

Alan Bilton, “Accelerated Bodies and Jumping Jacks: Automata, Mannequins and Toys in The Films of Charlie Chaplin,” Silent Film Comedy and American Culture (New York: Palgrave-MacMillan, 2013).

In Class Screening:

Sidewalk Stories (Charles Lane, 1989) (1:40:45)

Cinderella Cinders (Alice Howell, 1920) (19:23)

Just Imagination (Harry Watson Jr., 1916) (13:59)

Week 5 Comedy and the Modern City (Thursday, September 23rd)

Before Class Screening:

It (Charles G. Badger, 1927) (1:16:25)

Readings:

Steven Jacobs, “Slapstick Skyscrapers: An Architecture of Attractions,” Slapstick Comedy.

Charles Musser, “California Slapstick Revisited,” Slapstick Comedy.

Recommended Reading: 

William Solomon, “Harold Lloyd’s ‘Thrill’ Films,” Slapstick Modernism: Chaplin to Kerouac to Iggy Pop (Urbana, IL: University of Illinois Press, 2015).

Alan Bilton, “Consumerism and Its Discontents: Harold Lloyd and the Anxieties of Capitalism,” Silent Film Comedy and American Culture (New York: Palgrave-MacMillan, 2013).

(cont.)

In Class Screenings:

Safety Last (Fred Newmeyer and Sam Wood, 1923) (1:13:33)

A Thrilling Romance (Jess Robbins, 1926) (16 mins.)

On the Loose (Hal Roach, 1931) (20 mins.)

Week 6 Comedy and Sound: Radio (Thursday, September 30th)

Before Class Screenings:

Jack Benny Show (radio)

Buck Benny Rides Again (Mark Sandrich, 1940) (82 mins.)

Readings:

Rob King, “Sound Went Along and Out Went the Pies,” in Andrew Horton and Joanna E. Rapf (eds.), A Companion to Film Comedy (Malden, MA: Wiley-Blackwell, 2012).

Kathryn Fuller-Seeley, “Eddie Anderson, Rochester, and Race in 1930s Radio and Film,” Jack Benny and The Golden Age of American Radio Comedy (Berkeley: University of California Press, 2017),

Recommended Reading: 

Scott Balzerack, “Queered Radio/Queered Cinema,” Buffoon Men: Classic Hollywood Comedians and Queered Masculinity (Detroit: Wayne State University, 2013).

In Class Screening:

Lambchops (Murray Roth, 1929) (8:01)

It’s A Gift (Norman Z. McLeod, 1934) (1:07.53)

Week 7 Vaudeville, Music Hall, and Comic Anarchy (Thursday, October 7th)

Before Class Screening:

Love and Hisses (Sam White, 1934) (17:47)

Dumb and Dumber (Farrelly Brothers, 1994) (117 mins.)

Readings:

Henry Jenkins, “A Regular Mine, a Reservoir, A Proving Ground,” What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992).

Henry Jenkins and Kristine Brunoska Karnack, “Acting Funny,” Classical Hollywood Comedy.

Rob King, “The Cuckoo School,” Hokum!: The Early Sound Slapstick Short and Depression-Era Mass Culture (Berkeley: University of California Press, 2017).

Recommended Reading: 

William Paul, “Animal Comedy,” Laughing Screaming: Modern Hollywood Horror and Comedy (New York: Columbia University Press, 1994).

In Class Screening:

Hotel Anchovy (Al Christie, 1934) (17:52)

Duck Soup (Leo McCarey, 1934) (1:09:42)

Thursday, Oct 14th Fall Recess

Week 8 Comedy and Femininity (Thursday, October 21st)

Before class screening:  Booksmart (Olivia Wilde, 1929) (105 mins.)

Readings:

Kristin Anderson Wagner, “Pie Queens and Virtuous Vamps: The Funny Women of the Silent Screen,” in Andrew Horton and Joanna E. Rapf (eds.), A Companion to Film Comedy (Malden, MA: Wiley-Blackwell, 2012).

Henry Jenkins, “Don’t Become Too Intimate with That Terrible Woman?” What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992).

Mary J. Russo, “Female Grotesques: Carnival and Theory,” The Female Grotesque: Risk, Excess and Modernity (London: Routledge, 1994).

Natalie Zemon Davis, “Woman on Top,” Society and Culture in Early Modern France (Stanford: Stanford University Press, 1975).

Recommended Reading: 

Henry Jenkins, “You Don’t Say That in English,” The Wow Climax (New York: New York University Press, 2006).

In Class Screening:

The Patsy (King Vidor, 1928) (78 mins.)

The Introduction of Mrs. Gibbs (1930) (10 mins.)

Week 9 Comedy and Masculinity (Thursday, October 28th)

Before Class Screening: 

The Chaser (Harry Langdon, 1928) (1:02:46)

Readings:

Scott Balzerack, “Someone Like Me for a Member,” Buffoon Men: Classic Hollywood Comedians and Queered Masculinity (Detroit: Wayne State University, 2013).

 Tamar Jeffers McDonald, “The View from the Man-Cave,” in Andrew Horton and Joanna E. Rapf (eds.), A Companion to Film Comedy (Malden, MA: Wiley-Blackwell, 2012).

Joanna E. Rapf, “Doing Nothing: Harry Langdon And the Performance of Absence,” Film Quarterly 59(1), Fall 2005.

Recommended Reading: 

Alan Bilton, “Shell-Shocked Silents: Langdon, Repetition-Compulsion and World War I,” Silent Film Comedy and American Culture (New York: Palgrave-MacMillan, 2013).

Scott Bukatman, “Paralysis in Motion: Jerry Lewis’s Life As A Man,” in Andrew Horton (ed.), Comedy/Cinema/Theory (Berkeley: University of California Press, 1991).

In Class Screening:

The 40-Year-Old Virgin (Judd Apatow, 2005) (116 mins.)

Week 10 From Screwball to Rom-Com (Thursday, November 4th)

Before Class Screening:
Bringing Up Baby (Howard Hawks, 1938) (102 mins.)

The Lady Eve (Preston Sturges, 1941) (94 mins.)

Readings:

Kristine Karnick, “Commitment and Reaffirmation in Hollywood Romantic Comedy,” Classical Hollywood Comedy.

In Class Screening:

Game Night (John Francis Daley/Jonathan Goldstein, 2018) (100 mins.)

Week 11 Comedy and Race (Thursday, November 11th)

Before Class Screening:

Dolemite Is My Name (Craig Brewer, 2019) (118 mins.)

You Must Remember This: “Hattie McDaniels” (podcast) (30 mins.)

Readings:

Mel Watkins, “Race Records and Black Films,” On the Real Side: A History of African American Comedy (New York: Lawrence Hill, 1994).

George Derk, “Inverting Hollywood from the Outside in: The Film’s within Cheryl Dunye’s The Watermelon Woman,” Screen 59(3),Autumn 2018.

Recommended Reading: 

Bambi Haggins, “The Post-Soul Comedy Goes to the Movies,” Laughing Mad: The Black Comic Persona in Post-Soul America (New Brunswick, NJ: Rutgers University Press, 2007).

Racquel Gates, “Subverting Hollywood From the Inside Out,” Film Quarterly 68(1), Fall 2014.

In Class Screening:

The Watermelon Woman (Cheryl Dunye, 1996) (90 mins.)

Week 12 Vulgar Modernism (Thursday, November 18th)

Before Class Screening:

Hellzapoppin (H.C. Potter, 1941) (84 mins.)

The Stan Freberg Show (1957)

Bob and Ray (1955)

Mel Brooks and Carl Reiner, “2000 Year Old Man” (1950s/1960s)

The Goon Show (1955)

Readings:

Frank Krutnik, “A Spanner in the Works?” Classical Hollywood Comedy.

Henry Jenkins, “I Like to Kick Myself in The Face,” in Daniel Ira Goldmark and Charles Keil (eds.), Funny Pictures: Animation and Comedy in Studio-Era Hollywood (Berkeley: University of California Press, 2011).

(cont.)

Henry Jenkins, “Mel Brooks, Vulgar Modernism, and Comic Remediation,” in Andrew Horton and Joanna E. Rapf (eds.), A Companion to Film Comedy (Malden, MA: Wiley-Blackwell, 2012).

Ethan De Seifie, “Tashlin, Comedy and the ‘Live-Action Cartoon’,” Tashhlinesque: The Hollywood Comedies of Frank Tashlin (Middletown, CT: Wesleyan University Press, 2012).

Recommended Reading:

Ethan Thompson, “What Me Subversive?” Parody and Taste in Postwar American Television Culture (New York: Routledge, 2010).

In Class Screening:

Blazing Saddles (Mel Brooks, 1974) (93 mins.) 

Thursday, November 25th Thanksgiving NO CLASS

Week 13: Comedy, Politics and War (Thursday, December 2nd)

Before class screening:

You Nazi Spy! (Jules White, 1940) (18 mins.)

To Be or Not to Be (Ernest Lubitsch, 1942) (99 mins.) 

Readings:

Maria DiBatista, “The Totalitarian Comedy of Lubitsch’s To Be or Not to Be” in Andrew Horton and Joanna E. Rapf (eds.), A Companion to Film Comedy (Malden, MA: Wiley-Blackwell, 2012).

Louis Kaplin, “It Will Get a Terrific Laugh,” in Henry Jenkins, Tara Mcpherson, and Jane Shattuc (eds.), Hop on Pop: The Politics and Pleasures of Popular Culture (Durham: Duke University Press, 2003).

In Class Screening:

The Death of Stalin ( Armando Iannucci, 2017) (107 mins.)

Back to School Special: Fandom, Participatory Culture, and Web 2.0 (2021 Version)

Each term, I share with my readers what I am teaching and a bit of the behind the scenes thinking. The last time I taught my fandom class, I made a concerted effort to be more aware of the global backgrounds of my students and to embrace a more racially diverse set of readings, responding to the intellectual intensity of debates regarding race and nationality that are defining both fandom and fandom studies at the moment. For too long, fandom studies bracketed race in order to focus on questions of gender, sexuality, and generation.

As my friend Gail DeKosnik has suggested, we need to move beyond broad generalizations in favor of greater particularity about which fans of which properties in which contexts in regard to which norms and practices. Assumptions that whiteness or Americanness is an unstated norm can no longer hold and the readings selected here reflect that. I have continued this process of struggling to develop a more antiracist syllabus this term, taking advantage of new work in the field, though the changes are less dramatic than the alterations I made last time. And clearly more work needs to be done.

I am also doing some work to catch up with our shifting understanding of gender and the importance of paying attention to Ace, Gender Nonbinary, Gender Fluid, and Trans fans as we continue to see fandom as an important space where conversations about gender and sexuality are taking place.

Another significant shift this go around has to do with the assignment structure. Last term, I experimented in the arts and culture journalism class I co-taught with incorporating more dialogic writing practices into my teaching. Building on what turned out to be a surprisingly big success, I figured that a fandom studies class seems like a place where a more dialogic practice would be valuable and you will see that I have shifted from individual responses via Blackboard to group-based conversations as a core basis for my assessment practices. And I am offering substantive responses to each post each week to open up my own direct line of dialogue that helps especially students who do not talk much in class. I have always been reluctant to call on students for fear that they may not adequately be prepared but asking students to share some of what they posted in their dialogic writing means they are prepared with something to say and they already have at least one other person who might want to build on their point more fully integrating them into the discussion. These practices worked very well in the social isolation of Zoom and I am eager to see what happens in a face to face but masked classroom context.

I should note that I am stripping out of this syllabus all of the boilerplate bureaucratic stuff which makes the contemporary syllabus so intimidating for students. We all operate in our own institutions and I am not sure how valuable this stuff is for shared consumption,

COMM 577: Special Topics: Fandom, Participatory Culture, and Web 2.0 

3 units

Fall 2021  

Course Description

Sites like YouTube, Flickr, Twitter, and Wikipedia have made visible a set of cultural practices and logics that had been taking root within fandom over the past hundred-plus years, expanding their cultural influence by broadening and diversifying participation. In many ways, these practices have been encoded into the business models shaping so-called Web 2.0 companies, which have in turn made them far more mainstream, have increased their visibility, and have incorporated them into commercial production and marketing practices. The result has been a blurring between the grassroots practices I call participatory culture and the commercial practices being called Web 2.0. 

Fans have become some of the sharpest critics of Web 2.0, asking a series of important questions about how these companies operate, how they generate value for their participants, and what expectations participants should have around the content they provide and the social networks they entrust to these companies. Given this trajectory, a familiarity with fandom may provide an important key for understanding many new forms of cultural production and participation and, more generally, the logic through which social networks operate. 

So, to define our three terms (at least provisionally): 

·       fandom refers to the social structures and cultural practices created by the most passionately engaged consumers of mass media properties

·       participatory culture refers more broadly to any kind of cultural production which starts at the grassroots level and which is open to broad participation

·       Web 2.0 is a business model that sustains many web-based projects that rely on principles such as user creation and moderation, social networking, and "crowdsourcing"

That said, the debates about Web 2.0 are only the most recent set of issues in cultural and media studies which have been shaped by the emergence of a field of research focused on fans and fandom. Fan studies:

·       emerged from the Birmingham School's investigations of subcultures and resistance

·       became quickly entwined with debates in Third Wave Feminism and queer studies

·       has been a key space for understanding how taste and cultural discrimination operate

·       has increasingly been a site of investigation for researchers trying to understand informal learning or emergent conceptions of the citizen/consumer

·       has shaped legal discussions around appropriation, transformative work, and remix culture

·       enters discussions of racial representation, diversity, and inclusion within the entertainment industry

·       offers a useful window for understanding how globalization is reshaping our everyday lives

·       contributes to important debates about the nature of media authorship

·       and so much more

This course will be structured around an investigation of the contribution of fan studies to cultural theory, framing each class session around a key debate and mixing writing explicitly about fans with other work asking questions about cultural change and the politics of everyday life. This term, I have chosen to revise my syllabus to reflect ongoing debates in the field – in particular, a new effort to “de-colonize fandom studies,” to re-center the field around questions of race and nationality, as well as its historic focus on gender and sexuality. Together, we will work through the ways that this new work requires us to question and revise earlier formulations of the field. 

Student Learning Outcomes 

·       Distinguish among fandom, participatory culture, and Web 2.0

·       Map the roots of fandom studies in earlier theories of audiences, readers, subcultures, and publics

·       Recognize and apply methods (ethnography, autoethnography, historiography, close textual analysis) associated with fandom studies

·       Explore the links between fandom studies and earlier forms of grassroots media practice

·       Engage with debates in fandom studies around gender, sexuality, generational differences, race, and nationality

·       Identify core fandom practices, such as fan fiction, vidding, and cosplay

·       Map the social dynamics (and tensions) that define fan communities

·       Discuss the relationship between fan activism and civic imagination

·       Define core concepts used to explain fan activity, such as resistance, participation, engagement, taste, and mastery

·       Question the conflicting assumptions about authorship and intellectual property that shape relations between fans and producers

·       Debate Moral Economy and Fan Labor as contrasting models for how value emerges from fan communities

·       Make an original contribution to the scholarship on fandom and participatory culture

Course Notes 

This class relies heavily on discussion of core concepts drawn from the readings and, thus, I expect students to come to class prepared with ideas and questions to be discussed. Students may be called to revisit issues that surfaced during the dialogic writing, which is intended to spark ideas and identify students’ interests. I may also invite students to share some of their own research and experience, informally, with the class, if it seems appropriate. And all students will make short presentations of final research projects.  Students are encouraged to bring to class examples of fan practices drawn from their own experiences. Most of the work we are reading draws on fan practices in the Anglo-American tradition. I recognize that what fandom looks like, how it operates, and what its history is will differ from country to country, and region to region. Students are encouraged to introduce other national traditions across the semester.

Required Readings and Supplementary Materials

Rukmini Pande (ed.) Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020).

Anastasia Salter and Mel Stanfill, A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises (Jackson: University Press of Mississippi, 2020).

These can be purchased through the USC Bookstore, Amazon, or Bookshop.org. All of our other reading materials will be made available to you in PDF form or as links. These will be posted on Blackboard and incorporated in the weekly assignment sheets “handed out” in class via email. Most are in this syllabus under Course Schedule.

Description and Assessment of Assignments 

Dialogic Writing: This semester, I want students to experiment with collaborative or dialogic forms of writing. You will be assigned a partner at the start of the term (someone who will bring a significantly different background and perspective from your own). Across the term, you will write a weekly series of conversational pieces where the two of you dig into issues which have been raised by the course materials, conversations, and experiences, but which will also draw on your own observations about fandom and participatory culture. These are not crossfire posts; your goal is to explore your differences but also to search for common ground. Each installment should be roughly 1,500 words (i.e. 750-1k words per contributor) and should include more than one round of back and forth exchanges.  Assignments are due by 9 AM on the day the class meets. 

(20 percent each round) 

(I will provide two grades, one based on work prior to Oct. 12, one at the end of the class.)

Autoethnography:  You will write a short five-page auto-ethnography describing your own history as a fan of popular entertainment. You will explore whether or not you think of yourself as a fan, what kinds of fan practices you engage with, how you define yourself as a fan, how you became invested in the media franchises that have been part of your life, and how your feelings about being a fan might have adjusted over time. 

(10 percent) 

(Due by 5 PM on Sept. 9)

Annotated Bibliography: You will develop an annotated bibliography exploring one of the theoretical debates that have been central to the field of fan studies. These might include those which we've identified for the class, or they might include other topics more relevant to the student's own research. What are the key contributions of fan studies literature to this larger field of inquiry? What models from these theoretical traditions have informed work in fan studies? This bibliography is intended to get you started with the secondary reading for your final project and should include a brief abstract of what you hope to explore through that project. 

(10 Percent) 

(Due by 5 PM on Oct. 28)      

Final Paper: You will write a 15-20-page essay on a topic of your own choosing (in consultation with the instructor) which you feel grows out of the subjects and issues we've been exploring throughout the class. The paper will ideally build on the annotated bibliography created for the earlier assignment. 

(30 percent)

(Due on the scheduled exam date for the class, which is announced later in the term)

Students will also do a short 10-minute presentation of their findings during the final week of class. 

(10 percent) 

(Due in final class session) 

Breakdown of Grade 

Assignment

% of Grade 

Dialogic Writing, Round One

20%

Autoethnography

10%

Annotated Bibliography

10%

Dialogic Writing, Round Two

20%

Final Paper Presentation

10%

Final Paper

30%

TOTAL

100%

WEEK ONE: August 24

Defining Terms

·       Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington, "Why Study Fans?" in Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington (eds.), Fandom: Identities and Communities in a Mediated World (New York: New York University Press, 2007).  

If you have not previously read any of the following, take a look: 

·       Angela McRobbie, “Settling Accounts with Subcultures: A Feminist Account,” http://www.hu.mtu.edu/~jdslack/readings/CSReadings/McRobbie_Settling_Accounts_with_Subcultures.pdf.

·       Stuart Hall, “Encoding/Decoding” in Simon During (ed.), The Cultural Studies Reader (London: Routledge, 2007), https://faculty.georgetown.edu/irvinem/theory/SH-Encoding-Decoding.pdf.

·       Raymond Williams, “Culture Is Ordinary” (1958).

·       Janice Radway, “The Readers and Their Romances,” Reading the Romance: Women, Patriarchy and Popular Literature (Durham, NC: Duke University Press, 1984).

·       Richard Dyer, “Judy Garland and Gay Men,” Heavenly Bodies: Film Stars and Society (London: McMillian, 1986).

·       bell hooks, "The Oppositional Gaze: Black Female Spectators," in Black Looks: Race and Representation, (Boston: South End Press).

·       Stanley Fish, “Is There a Text in This Class?” Is There a Text in This Class? (Cambridge: Harvard University Press, 1980).

WEEK TWO: August 31st

Fan Studies and Cultural Resistance

·       John Fiske, "The Cultural Economy of Fandom," in Lisa A. Lewis (ed.), The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1992).

·       Camille Bacon-Smith, "Identity and Risk," Enterprising Women: Television Fandom and the Creation of Popular Myth (Philadelphia: University of Pennsylvania Press, 1992). 

·       Constance Penley, "Feminism, Psychoanalysis, and the Study of Popular Culture," in Lawrence Grosberg, Cary Nelson, and Paula A. Treichler (eds.), Cultural Studies (Durham: Duke University Press, 1991).

·       Henry Jenkins, "Star Trek Rerun, Reread, Rewritten,” Fans, Bloggers and Gamers (New York: New York University Press, 2006).

·       Rebecca Wanzo, “African American Acafandom and Other Strangers: New Genealogies of Fan studies,” Transformative Works and Culture 20, 2015, http://journal.transformativeworks.org/index.php/twc/article/view/699.

·       (Rec.) Stephen Duncombe, “Resistance” in Laurie Ouellette and Jonathan Gray (eds.), Keywords For Media Studies(New York: New York University Press, 2017).

·       (Rec.)  Henry Jenkins, “Negotiating Fandom: The Politics of Race-Bending” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

WEEK THREE: September 7

From Engagement to Participation  

·       Mark Duffet, “How Do People Become Fans?” Understanding Fandom: An Introduction to the Study of Media Fan Cultures (London: Bloomsbury, 2013).

·       Rhiannon Bury, “Fans, Fan Studies and the Participatory Continuum,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

·       Henry Jenkins, Sam Ford, and Joshua Green, “The Value of Media Engagement,” Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University Press, 2013), 113-150.

(cont.)

·       danah boyd, Henry Jenkins, and Mimi Ito, “Defining Participatory Culture,” Participatory Culture in a Networked Era (London: Polity, 2014), 1-31. 

Alfred L. Martin Jr., “Surplus Blackness,” Flow, April 27, 2021, https://www.flowjournal.org/2021/04/surplus-blackness/.

Auto-Ethnography Assignment Due by 5 PM on September 9

WEEK FOUR: September 14

Tracing the History of Participatory Culture

·       Robert Darnton, "Readers Respond to Rousseau: The Fabrication of Romantic Sensibility," The Great Cat Massacre and Other Episodes in French Cultural History (New York: Basic, 2009).

·       Daniel Cavicchi, “Foundational Discourses of Fandom” in Paul Booth (ed.), A Companion of Media Fandom and Fan Studies (New York: Wiley Blackwell, 2017).

·       Alexandra Edwards, “Literature Fandom and Literary Fans” in Paul Booth (ed.), A Companion of Media Fandom and Fan Studies (New York: Wiley Blackwell, 2017).

·       andré m. carrington, “Josh Brandon’s Blues: Inventing the Black Fan,” Speculative Blackness: The Future of Race in Science Fiction (Minneapolis: University of Minnesota Press, 2016). 

·       Helen Merrick, “FLAWOL: The Making of Fannish Feminisms,” The Secret Feminist Cabal: A Cultural History of Science Fiction Feminisms (New York: Aqueduct, 2019). 

WEEK FIVE: September 21

Fan Activism, Fan Education

·       Neta Kligler Vilenchik, “’Decreasing World Suck’: Harnessing Popular Culture for Fan Activism,” in Henry Jenkins et al., By Any Media Necessary: The New Youth Activism (New York: New York University Press, 2016).

·       Henry Jenkins, Sangita Shresthova, Liana Gamber-Thompson, and Neta Kligler Vilenchik, “Superpowers to the People: How Young Activists are Tapping the Civic Imagination,” in Eric Gordon and Paul Mihailidis (eds.), Civic Media: Technology, Design, Practice (Cambridge: MIT Press, 2016).

·       Ashley Hink, “The Nerdfighter’s YouTube Project for Awesome,” Politics for the Love of Fandom: Fan-Based Citizenship in the Digital World (New Orleans: Louisiana University Press, 2019).

·       Lori Kido Lopez, "Fan Activists and the Politics of Race in The Last Airbender."International Journal of Cultural Studies 15(5): 431–445. http://dx.doi.org/10.1177/1367877911422862. 

WEEK SIX: September 28

The Contested Social Dynamics of Fandom

·       McKenna James Boeckner, Monica Flegel and Judith Leggatt, “‘Not My Captain America’: Racebending, Reverse Discrimination, and White Panic in the Marvel Comics Fandom,” in Rukmini Pande (ed.), Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020).

·       Matt Hills, “From Fan Doxa to Toxic Fan Practices,” Participations, May 2018.

·       Benjamin Woo, “The Invisible Bag of Holding: Whiteness and Media Fandom,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

·       Mel Stanfill, 2011, "Doing Fandom, (Mis)doing Whiteness: Heteronormativity, Racialization, and the Discursive Construction of Fandom," in Robin Anne Reid and Sarah Gatson (eds.), "Race and Ethnicity in Fandom," Transformative Works and Cultures 8 (special issue), 2011, https://journal.transformativeworks.org/index.php/twc/article/view/256.

·       Suzanne Scott, “Interrogating the Fake Geek Fan Girl: The Spreadable Misogyny of Contemporary Fan Culture,” Fake Geek Girls: Fandom, Gender and the Contemporary Culture Industry  (New York: New York University Press, 2019).

WEEK SEVEN: October 5

Transcultural Fandom 

·       Bertha Chin and Lori Hitchcock Morimoto, “Towards a Theory of Transcultural Fandom,” Participations, May 2013, http://www.participations.org/Volume%2010/Issue%201/7%20Chin%20&%20Morimoto%2010.1.pdf.

·       Bertha Chin, Aswin Punathembekar, Sangita Shresthova, “Advancing Transcultural Fandom: A Conversation,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

·       Rukmini Pande, “Can’t Stop the Signal: Online Media Fandom as Postcolonial Cyberspace,” Squee From the Margins: Fandom and Race (Iowa City: University of Iowa Press, 2019).

·       Mizuko Ito, “Contributors Versus Leechers: Fansubbing Ethics and a Hybrid Public Space,” in Mizuko Ito, Daisuke Okabe and Izumi Tsuji (eds.), Fandom Unbound: Otaku Culture in a Connected World (New Haven: Yale University Press, 2012).

·       Miranda Ruth Larsen, “‘But I’m a Foreigner Too’: Otherness, Racial Oversimplification and Historical Amnesia in K-Pop Fandom,” in Rukmini Pande (ed.), Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020).

WEEK EIGHT: October 12

Performing Fan Identities

·       Ellen Kirkpatrick, "On [Dis]play: Outlier Resistance and the Matter of Racebending Superhero Cosplay," in Abigail De Kosnik and andré m. carrington (eds.), "Fans of Color, Fandoms of Color,” Transformative Works and Cultures 29 (special issue), 2019, https://journal.transformativeworks.org/index.php/twc/article/view/1483.

·       Samantha Close, “Fannish Masculinities in Transition in Anime Music Video Fandom,” Transformative Works and Cultures 22, 2016, http://journal.transformativeworks.org/index.php/twc/article/view/713.

·       Rebecca Williams, “Fan Tourism and Pilgrimage” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

·       Nicole Lamerichs,”Fan Fashion: Re-Enacting Hunger Games Through Clothing and Design,” in Paul Booth (ed.), A Companion of Media Fandom and Fan Studies (New York: Wiley Blackwell, 2017).

·       Joan Miller, “Race Play: Whiteness and Erasure in Cross-Racial Cosplay,” in Rukmini Pande (ed.), Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020).

End of First Grading Period for Dialogic Writing

WEEK NINE: October 19

Fan Production: Fan Fiction

·       Ebony Elizabeth Thomas, Amy Stornaiuolo,“Race, Storying and Restorying: What We Can Learn From Black Fans?” in Abigail De Kosnik and andré m. carrington (eds.), "Fans of Color, Fandoms of Color,” Transformative Works and Cultures 29 (special issue), 2019, https://journal.transformativeworks.org/index.php/twc/article/view/1562.

·       Julie Levin Russo, “The Queer Politics of Femslash,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

·       Francesca Coppa, “Five Things Fan Fiction Is and One Thing It Isn’t,” The Fan Fiction Reader: Folk Tales for the Digital Age (Ann Arbor: University of Michigan Press. 2017.)

·       Rukmini Pande and Swati Moitra, “‘Yes, the Evil Queen Is Latina!’: Racial Dynamics of Online Femslash Fandoms,” in Julie Levin Russo and Eve Ng (eds.), “Queer Female Fandom, Transformative Works and Cultures 24  (special issue), 2017, https://journal.transformativeworks.org/index.php/twc/article/view/908.

·       Francesca Coppa and Rebecca Tushnett, “Transformative,” in Keywords in Remix Studies (London: Routledge, 2018).

WEEK TEN: October 26

Fan Production: Vidding and Fan Art

·       Tisha Turk and Joshua Johnson, "Toward an Ecology of Vidding," in Francesca Coppa and Julie Levin Russo (eds.), "Fan/Remix Video," Transformative Works and Cultures 9 (special issue), 2012, https://journal.transformativeworks.org/index.php/twc/article/view/326/294.

·       Katherine Freund, “Becoming a Part of the Storytelling: Fan Vidding Practices and Histories,” in Paul Booth (ed.), A Companion of Media Fandom and Fan Studies (New York: Wiley Blackwell, 2017).

·       Francesca Coppa, Alex Lothian, Tisha Turk, “Vidding and Identity: A Conversation” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

·       Abigail De Kosnik, “Queer and Feminist Archival Cultures: The Politics of Preserving Fan Works,” Rogue Archives: Digital Cultural Memory and Media Fandom (Cambridge: MIT Press, 2016).

Annotated Bibliography Assignment Due by 5 PM on October 28

WEEK ELEVEN: November 2

Fandom and Authorship

·       Anastasia Salter and Mel Stanfill, A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises (Jackson: University Press of Mississippi, 2020).

 If you have not yet read it, please also read:

·       Michel Foucault, “What Is an Author?” http://artsites.ucsc.edu/faculty/Gustafson/FILM%20162.W10/readings/foucault.author.pdf.

WEEK TWELVE: November 9

Fan Labor, Moral Economy, and the Gift Economy

·       Henry Jenkins, Sam Ford, and Joshua Green, “What Went Wrong with Web 2.0,” Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University Press, 2013).

·       Mark Andrejevic, "Exploiting YouTube: Contradictions of User-Generated Labor," in Pelle Snickars and Patrick Vonderau (eds.), The YouTube Reader (Stockholm: National Library of Sweden, 2009).

·       Tisha Turk, “Fan Work: Labor, Worth, and Participation in Fandom’s Gift Economy,” Transformative Works and Cultures 15, 2014, https://journal.transformativeworks.org/index.php/twc/article/view/518.

·       John Campbell, “Whistle While You Work: Alienation, Exploitation, and the Immaterial Labor of Disney Fans,” (Work in Progress).

·       Nancy Baym, "Participatory Boundaries," Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection (New York: New York University Press, 2018).

WEEK THIRTEEN: November 16

Taste, Mastery, and Material Practice

·       John Bloom, "Cardboard Patriarchy: Adult Baseball Card Collecting and the Nostalgia for a Presexual Past," in Henry Jenkins, Tara McPherson and Jane Shattuc (eds.), Hop on Pop: The Politics and Pleasures of Popular Culture (Durham, NC: Duke UP, 2002) .

·       Jonathan Gray, “How Do I Dislike Thee? Let Me Count the Ways,” in Melissa A. Click (ed.), Anti-fandom: Dislike and Hate in the Digital Age (New York: New York University Press, 2019).

·       Melissa A. Click, “Haters Gonna Hate,” in Melissa A. Click (ed.), Anti-fandom: Dislike and Hate in the Digital Age (New York: New York University Press, 2019).

·       Alan McKee, "Which is the Best Doctor Who Story? A Case Study in Value Judgment Outside the Academies," Intensities 1, 2001.

End of Second Grading Period for Dialogic Writing

WEEK FOURTEEN: November 23 Independent Student Research Session

WEEK FIFTEEN: November 30 Student Presentations

It's Summertime and the Streaming Is Easy: What to Watch

As many of us in the academic world go into summer mode, which opens up a bit more time for streaming and watching media content, I thought I would offer a midyear list of things I have viewed and enjoyed since the start of 2021. Since almost all of this was watched streaming, I am not going to separate out film and television content (it’s a hopeless blur). I also include things here that I watched since the first of the year but which may have dropped in 2020 or in a few cases, even earlier. We are all catching up all the time these days. I have only included those series where I watched every episode so if it’s on the list, it’s a given that I liked it enough to keep watching. So you can take this list as a series of recommendations of things you MIGHT enjoy watching. Your mileage may differ.

Sitcoms

How to, with John Wilson — quirky, observational, sometimes poignant, this series combines documentary and found footage with satirical commentary to explore everyday life on the eve of the pandemic.

Kim’s Convienence — I started this family sitcom about a Korean family running a coronership in Canada in 2020, but caught up with the two most recent seasons since the start of the new year. This is warm and pleasant, rarely descends into '‘cringe'“, and the characters like each other. If you want bittersweet chocolate, go elsewhere. This is milk chocolate and nougat all the way down.

Rutherford Falls — This series examines competing histories and the war over monuments in a small town. The writer’s room is heavily indigenous people and some of the most compelling characters are particular personalities from tribal communities. It is still a bit patchy by the end of the first season but several of the episodes are gems (especially one about a school history fair) and the characters develop nuance as they go along.

Young Rock — Do you like the Rock? Did you watch the WWE/WWF in the 1980s and 1990s? Then you will find this very specific sitcom to your taste. I loved seeing some of my favorite vintage wrestlers as recurring characters — Macho Man Randy Savage and Andre the Giant as you’ve never seen them before.

Run — This one falls on the cusp between comedy and suspense. THIS fast-paced romp combines Hitchcockian thrills with rom-com on a cross-country train trip. Above all, it allows Merritt Weaver to be playful, sexy, and smart and has crisp writing (and cameo role) by Phoebe Waller-Bridge.

The Flight Attendant — This is even less a comedy than Run. I almost gave up in the middle when it got boozy and downright depressive. But I am glad I stuck with it, because it kept me guessing and laughing throughout.

Drama

The Queen’s Gambit — I had trouble imagining how they could make a compelling series about chess, but I was wrong. I watched this series in a couple of long binge sessions. The core performances are compelling, the gender politics complex if still somewhat problematic.

Plot Against America — I could not bring myself to watch this series about the rise of an American fascist to political power until after the election got settled. This was the case of a series that was too timely. It’s still hard to watch but rewarding on many levels.

Bridgerton — Sudsy, Sexy, full of problems, but so much fun to watch.

Unorthodox — Another really specific series about a woman who tries to escape from the Orthodox Jewish community. It offered a window (a critical one) into a world I knew little about.

Self-Made: Inspired by the Life of Madame C. J. Walker — Octavia Spencer and Blair Underwood dramatize a progressive era chapter in the history of black entrepreneurship.

Normal People — A painful Irish romance which factors in issues of stigmatization and class. It has some of the most emotionally nuanced sex scenes ever shown on television. I was especially drawn to Daisy Edgar-Jones’s vulnerable and yet resilient performance.

Defending Jacob — Suspicion erupts within a family as they confront accusations that the high school aged son may have committed murder. Michelle Dochery and Chris Evans show us contrasting portraits of how loving parents and partners deal with enormous emotional pressure.

Genre Television

Paranormal — An Egyptian series in the tradition of The X-Files or more recently, Evil about a man who seeks to investigate paranormal experiences, mostly inspired by Islamic mythologies, which bring him to confront unresolved events in his own past.

Wanda vision — Marvel is really going to town with trans media extensions of the MCU into television. By now, you know how Wandavision uses sitcoms to explore the relationships amongst two of the least developed characters in the Avengers movies. You either loved it or hated it. I loved it.

Doom Patrol — I have only watched season 1 but this was a fresh take on superheroes with a cast that includes Brendon Frasier, Matt Bomer, Timothy Dalton, and Alan Tudyk. Here, the superhero team is seen through queerness and disability, sometimes super-dark, sometimes pretty raunchy, but these are its stronger qualities. And then there’s the matter of the sentient street…

Harley Quinn — Another series people seem to love or hate. I loved its anarchic energy, the depiction of the friendship between Harley and Poison Ivy, the snarky commentary on superhero cliches, and the bat shit crazy depiction of Jim Gordon, the kind-hearted representation of King Shark, and so much more.

The Falcon and the Winter Soldier — For me, this was more hit or miss than Wandavision, but there was more than enough to hold my interest, and the reclaiming of Isiah Bradley’s storyline was really rewarding for those who wanted to see critiques of the whiteness of the superhero brought into the Marvel media empire.

Invincible — I was initially a huge fan of the Invincible comics by Robert Kirkman (The Walking Dead) but felt it lost its way fairly early in. This series reworks the core plot line (while remaining attentive to the original spirit) much as The Walking Dead involved a thorough rethinking of choices made in the comic series. The cast alone — Steven Yeun, Sandra Oh, J.K. Simmons, among others — makes this one worth watching. But this has got to be the most bloodthirsty animated series I have seen in a long time so not for the faint of heart. Don’t ask me why I find it so hard to get into the brutal humor of The Boys but enjoy the violence here.

For All Mankind — I enjoyed the first season of this alternative history series where the Russians beat the Americans to the moon, but the second season was even stronger with a greater fleshing out of the female characters, more complex interactions with the Russians, more attention to the political context. I soaked countless tissues dabbing eyes during the season finale (word to the wise). Do not miss all of the trans media extras on Apple Plus besides the episodes themselves.

Reality and Documentary Series

The Bridge — A British reality series about an odd-ball mix of folks thrown together in a cabin and given the challenge to build a bridge together. Has some of the same qualities I love in Survivor, without the colonialist tribalism and without the obstacle races. The focus is purely on the social drama as they decide along the way who stays or leaves and who wins the final prize.

The Hustler — An interesting variant on the trivia quiz show with elements of The Mole thrown in. Not profound but a good way to escape the grimness of the world around us.

The Chase — Another fun trivia competition whether with the original British version (with the Beast) or the American version (with the three Jeopardy G.O.A.T.s).

The Great Pottery Throwdown — I will watch pretty much any reality competition series. This has the quirky charms of the Great British Bake-off but with clay. What do we care? You can’t taste the food prepared on Bake-Off in any case, and there’s a lot of sculpting and molding in that series to boot.

Atlanta’s Missing and Murdered — I lived in Atlanta during the time these events were unfolding and remembered them vividly. This series helps to put an historic frame around them. I found less that was new here than I had hoped, since the case has been reopen. They do not develop a fully considered alternative theory of the case — they just do what a good defense attorney would do, poke holds in the prosecution and hint at other possible suspects.

McMillions — This is a Coen Brothers movie waiting to happen full of small town eccentric characters — from minor league mobsters to a puppy dog-like FBI agent and lots of twists and surprises along the way. There is a dramatic film under development but not by the Coen Bros.

Q Into the Storm — I had mixed feelings while watching this, but it got under my skin and stayed there. It drags in the middle but they do get some place in the end and the implications for participatory politics are really disturbing.

The Zen Diaries of Gary Shandling — If you are a fellow comedy nerd, this is for you. I was a huge fan of the Gary Shadling Show (that’s where the title of my How Do You Like It So Far? podcast comes from) and this takes us deep inside his twisted mind.

Self-Contained Documentaries

The Sit-In — An amazing documentary that fills a significant gap in our understanding of television history. Harry Belafonte takes over the Tonight Show from Johnny Carson for a week in 1968, brings serious reflections on race, the counterculture, and political/cultural change with guests that included Robert Kennedy, Martin Luther King, Aretha Franklin, and so many others. I had no idea. The film does a great job reconstructing what happened, given much of the footage was lost, and why it mattered.

Crip Camp — This would have been my personal choice for the best documentary of the year. It’s a powerful depiction of an activist network that came together through a summer camp where they were allowed to find their voice and extends through three plus decades of disability activism.

The Mole Agent — Having seen My Octopus Teacher, I thought that this was going to be a film about a mole that takes a percentage and refuses to return your calls. Boy was I surprised by this quirky doc about an elderly man who goes undercover at an old folks’ home.

Time — This documentary about the impact of incarceration of the families who are left behind was emotionally intense and formally innovative, but it had gotten blown up too much for me and so it was less a revelation than it was to so many other people I know.

Becoming Mike Nichols — A really close look at the comedian, stage director, and filmmaker’s early career. I can wish that we got multiple episodes here which extended the time line, but Nichols died not long after the initial interview sessions so I will be thankful for what we have. I especially loved seeing the Nichols and May segments.

Behind the Mask — I am biased because I got some screen time here, but this is probably the most thoughtful documentary I have seen about the identity politics surrounding superheroes in contemporary culture.

Dramatic Features (Here I am only listing films that I liked)

The Assistant — This study of a toxic office culture is slow, contemplative, but packs a wallop. Julia Gardner is my favorite thing about Ozark and it was great to see what she could do with a film role.

Let Him Go — A net-western in the spirit of Hell and High Water.

News of the World — A more classical western, mostly of interest for its depiction of a forgotten chapter in the history of American journalism.

Personal History of David Copperfield — The comic aspects of Charles Dickens is pushed forward in this rapid-fire meta-fictional adaptation.

Nomadland — So much has already been said, most of it true (both the good and the bad)

The Life Ahead — I was glad that Sophia Loren got to make this. I enjoyed watching it. Now I barely remember it.

Radioactive — Gender politics in early 20th century physics (The Curies) based on a decent graphic novel. Not extraordinary but not bad if you like that sorta thing.

Soul — Personally I liked WolfWalkers much better — much much better. But any Pixar film is worth watching and the echoes of A Matter of Life and Death were warmly received by this Powell and Pressburger fan.

Promising Young Woman — I don’t know what to do with this one. There was so much I liked about it and so much I hated. The ending probably tipped the scales into the negative column for me.

Judas and the Black Messiah — It’s hard to make a mainstream film about radical politics, but this one went a long way towards getting people to take a fresh look at the Black Panther movement, helped along by some compelling performances.

Emma — A decent Jane Austin adaptation. Nuff Said.

The Father — Anthony Hopkins’ performance was spectacular, showing a degree of emotional vulnerability I had not seen from him before, and the ways that the film techniques help us to feel some of the shifting reality associated with his mental deterioration was innovative.

Wendy — Not as strong or original as Benh Zeitlin’s Beasts of the Southern Wild but in the same ballpark. A mythopoetic adaptation of Peter Pan, which is richly textured in its dealings with southern landscapes and cultures.

Cliff Dwellers — You never know what to expect from Zhang Yimou but this was a compelling vintage espionage story. I did not follow the plot for most of the movie but it’s formal treatment of the tropes of the genre were compelling to watch. The best use of snow in a movie since Doctor Zhivago. The most gunplay in a movie since John Woo left Hong Kong.

Genre films

Enola Holmes — This is probably objectively speaking not even a good film, but I loved so much about it, especially the relationship between Enola and her older brothers.

Justice League (The Snyder Cut) — OK, I still do not love it, but this was a better film than I expected. There is less comic banter than the Whedon cut (and I prefer that to Snyder’s trademarked doom and gloom) but more backstory especially for The Flash and Cyborg.

Godzilla vs. Kong — The big dumb giant monster movie I was waiting for and I got to see it on a large screen.

The Mitchells vs. the Machines — If you like Into the Spiderverse and The Lego Movie, have I got a film for you! It has the experimental mix of animation of the first and the snarky pop culture satire of the second.

Moxie — I spent much of 2020 giving myself over to my inner middle school girl with many teen-focused series. This film was a return to that mental state for me. A teenage comedy about zine culture, riot girl feminism, and mother-daughter relations. What can I say — I like stories of teenage resistance to authority. I also caught up with and liked Walkout about the walkout of the LA schools in the 1960s and its impact on the Chicano/a movement. Both are the kinds of stories I would have liked when I was high school wearing out my battered copy of the ACLU handbook on The Rights of Students.

Here are some things still on my summer watch list:

The Nevers

The Underground Railroad

The Irregulars

Jupiter’s Legacy

Raised by Wolves

Hacks

Devs

Gentrified

and so much more.

If you have not been listening to How Do You Like It So Far?...

You have been missing a lot. I am particularly satisfied with the journeys through popular culture and social change Colin Maclay and I have taken our listeners this past semester. If I was to sum up our key themes this season, it was the nature of being human and our relationship to the environment. Not every episode explored that theme and some are only loosely connected to it, but it was very much in my thinking all term and kept surfacing in our choice of guests, the topics we covered, and the conversations we had. I shared two transcripts of our episodes here and hope to share more in the future, since these were so popular. But today I want to provide an overview of the past season.

Episode 78 Exploring Queeristan with Parmesh Shahani

Parmesh and I have a long relationship — he was my student at MIT, he was my host and tour guide during a three week tour of India a few years ago, and he is a constant inspiration for me as he has emerged as a key corporate and cultural leader and queer activist. Here we talk about queer identity and politics in India in a conversation which ranges from business to religion to popular culture all as they relate to the changing attitudes towards sexuality in his home country. This was a great way to start our season.

Episode 79 New Hope for New Online Public Spaces With Talia Stroud and Eli Pariser

The Civic Signals project, headed by Stroud and Pariser, is doing some of the best work these days about the public sphere, social media, and participatory democracy. We saw this conversation as an extension of ongoing discussions on our show about virtual community life. Their inspirational approach centers on what kind of communities we want to have as opposed to further delimiting the problems we are facing.

Episode 80 What Is a Human With James Paul Gee

James Paul Gee is a longtime educational researcher whose important work on what educators could learn from video and computer games was central to the Digital Media and Learning movement. Now retired and living on a farm, he has published what he says is going to be his final book — a deep reflection on the intelligence of animals and the nature of being a human being. He says that today’s schools may be designed for some alien race but they do not reflect our current understanding of what human beings are.

Episode 81 Warren Hedges on the Fantasy Roots of the Capital Insurrection

Warren Hedges caught our attention with a Facebook post about how he spoke to his students in his seminar on multicultural fantasy about the capital insurrection and the role of the so-called Q-Anon Shaman. I wanted to unpack some of this on our show and walked him through a history of the links between the fantasy genre and white nationalism, the alternatives posed by newer fantasy writers, and the multiple forms of civic imagination that shaped this deeply disturbing chapter in American populism.

Episode 82 Bridgit Antonette Evans and Tracy Van Slyke on the Intersection of Art and Activism

As a show about popular culture in a changing world, a number of our previous guests had been funded by the Pop Culture Collaborative. So we wanted to provide a bigger context for this work by talking with two leaders from the Collaborative and better understanding the models of social change underlying their work. Why might popular culture be such an important site for shifting American’s understandings of the world? How might we best invest time and resources to foster a more equitable, inclusive and sustainable society?

Episode 83 Indigenous Voices for Environmental Justice with Candis Collision and Julian Brave Noisecat

Candis Callison — another of my former students from my MIT years — introduced us to Julian Brave Noisecat, another Indigenous journalist who writes about environmental politics. Together, they discussed what it means to write about these issues through an indigenous lens, how native peoples in the arctic and in Standing Rock, as well as elsewhere, have been leading fights to protect the environment, and why journalism may be ill-suited to covering issues like the environment.

Episode 84 Sarena Ulibarri and Ed Fein on Solarpunk

Solarpunk is an important example of how genre fiction can contribute to movements for social change — in this case, a new genre of science fiction which imagines the consequences of climate change and offer optimistic visions of more sustainable futures. We brought together Sarena, a leading writer and publisher in the Solarpunk movement, with Ed Fein from Arizona State’s Center for Science and the Imagination which bridges between scientists and fiction writers working in the genre. Together, they help us map Solarpunk as offering multiple visions of the future and the ways it sees itself as a political intervention.

Episode 85 Speculative Art and Fiction with SB Divya and Jonathon Keats

Artist Jonathon Keats describes his art which often deals with the relationship between humans and plants as “thought experiments,” intended to foster a spirit of speculation, experimentation, and conversation about environmental issues. We brought him into conversation with SB Divya who is a rising star in the science fiction world (as well as a scientist). Together, they talked about the nature of science as an epistemic project, the role of art and fiction in popular science education, different experiences of time, and why our human-centered vision of the universe blinds us to the larger stakes in climate change.

Episode 86 Ioana Mischie and Howard Blumenthal on the Future of Education

After more than a year of disruption to normative educational practice around the globe, it seemed like a good time to discuss the dead-ends of our current schooling practice and to imagine other ways we might help children to learn. Mischie is a Romanian based artist who is collaborating with children to imagine futures for her country; Blumenthal is a long-time producer of children’s television whose new project involves talking with children around the world about their lives. They bring a playful, imaginative, and critical perspective to bear on this important topic.

Episode 87 Te Rita Papesch and Sharon Mazer on the Living Tradition of Paka Haka

Since the 1970s, Te Rita Papesch has been a legend in the Maori performance tradition of Kapa Haka as a performer, as a scholar, as a commentator, as a community leader, and as the matriarch of a larger clan of performers. Sharon Mazer is a performance scholar who writes about these practices and a long-time friend and student of Papesch. Together, the two women explain what Paka Haka is, how it reflects the living presence of the Maori people in New Zealand culture, how it has changed over time, and what it can tell us about contemporary indigenous life.

Coming soon — the audio recordings from our mini-conference on audio fiction in contemporary podcasting.

Because we work with students to produce the podcast, we are shutting down for the summer but we will be back in the fall with more great conversations. How do you like it so far?

The Conspiracy of Culture

I don’t do personal posts very often, but this one is going to dig a bit into family history. If you are not interested in learning more about ME, you probably should skip it. I make no apologies. This is MY blog after all!

This semester, I co-taught an enormously rewarding class through the specialized arts and culture journalism program with my remarkable colleague, Sasha Anawalt. Sasha was retiring this term so we pulled out all of the stops: both of us tapped our networks to bring in some of the people whose work on contemporary culture and politics inspired us. We wanted to expand student’s thinking about what topics feel under “arts and culture,” shattering any preconceptions about the lines between high and low culture, and linking culture to contemporary struggles over racial justice. We encouraged students to think through these topics together via dialogic writing which worked better than I could have ever imagined and is going to be a staple of my own teaching for now on. As the course drew to a close, students worked in teams to express outward facing perspectives on what they had learned through staging contemporary preconceptions of the depression era Living Newspaper tradition. And inspired by the work of anthropologist Daniel Miller, my Comics and Stuff book, Sasha’s interest in still life, and a series of visits from assemblage artist Dominique Moody, they were to reflect on the “stuff” — material and emotional — that they have surrounded themselves with during the pandemic by creating their own Cornel Boxes (broadly defined). Sasha and I decided we would also do this last assignment alongside our students. Today I want to share my creative project — The Conspiracy of Culture — and what it taught me about cultural connection across four generations in my own family.

The central metaphor here is the conspiracy board (and its resemblance to more traditional mapping of the family tree). I am interested in conspiracy boards because they follow a logic of hidden connections — ultimately everything is connected in countless ways to everything else — and the never-ending search for meaning, constituting the perfect semiotic machine. In this case, I wanted to map not simply the connections of marriage and parenthood that shape most family trees but the process of enculturation as it plays out across four generations in my family. I should acknowledge that my approach here is pretty patriarchal — I did not try to map my mother’s side of the family or my wife’s, both of which would require another board or two. My choice was shaped by what the family calls “the four Henrys.”

My grandfather — Henry Guy Jenkins Sr., who went by H.G., my father — Henry Guy Jenkins Jr., who went by Guy, myself — Henry Guy Jenkins III, and my Son, Henry Guy Jenkins IV — who now goes by Charlie are connected to each other by our shared name. We were lucky to capture a range of photographs of the four of us before my grandfather passed away. And those images are some of the ones I treasure the most. I wrote about my grandfather in my contribution to Renee Hobbs’ book, Exploring the Roots of Digital and Media Literacy Through Personal Narrative. So, my project here centers on the four Henrys and our respective relationship to popular culture. I was inspired in part by the assemblage of artifacts we found in my grandfather’s desk drawer when he passed away — his union card as a sheet metal worker, a copy of the King James Bible which this man with a fourth grade education marked each time he read it cover to cover, FDR’s collected speeches, and a postcard of the populist 1930s comedian Will Rogers. This is a perfect snapshot of the life of a man who left the farm to be a quartermaster during World War I and went to live in Atlanta after his return: a southern “blue dog” Democrat, a working man, a religious man.[ Using these objects as a starting point, I made a list of core cultural interests for each member of my immediate family focusing particularly on shared links across generations. I was not able to fit everything i identified on the board for space constraints, but I was able to include a representative sample. I worked with my son to compare our respective memories since I knew we each would have distinctive relations with the core family members. Charlie and Cynthia also helped me track down materials, most of which could be found somewhere in my pack-rat apartment but I was on the other side of the country.

As we began making links, sometimes across multiple generations, we found it challenging to know how to express different kinds of relationships. For example, my grandmother was a huge wrestling fan, going back to the 1950s, and I have vivid memories of her pounding on the coffee table as she watched what was happening in the ring. This interest largely skipped several generations — my mother once dated Freddy Miller — who was a long-time ringside announcer in Atlanta and I have ended up writing several essays on wrestling though my interest faded pretty quickly — to get to my son, who has been a hardcore fan for decades. Here, for example, is a photograph of his well worn WWE ring, an artifact of his childhood. Somewhere — in storage — he has a large collection of related action figures.

• Should we see a causal relationship here, even though she only knew my son as a baby, or may we simply assume that the shared interest is largely coincidental?

  How might we understand shared tastes among several generation of women in the family, especially where the tastes were fully formed before they married into the Jenkins clan? It’s possible of course that these shared interests are part of the habitus that made the relationships possible or desirable, even if they were acquired under different circumstances. For example, Star Trek was one of the factors that brought my wife and I together though we were both Trek fans when we met. Both of our parents were regular viewers and we both were introduced to “classic” Trek as it was first airing. My wife introduced me to the world of Trek fanzines which inspired me to write Textual Poachers. Both of our brothers are also Trek enthusiasts, and it is one of the cultural connections between my brother and I in a relationship generally defined around our differences rather than our commonalities. My son also has enjoyed watching Trek though overall he is less a fan than his parents. How than can colored yarn capture the nuances of causality, historical context, and degrees of intensity suggested by this example?

Yet confronting the limits of these modes of representation forced me to think through these connections in the first place and I made a number of discoveries along the way.I had anticipated for example that the number of strings connecting to the Left side of the board, where my grandparents are, would be fewer than those on the Right side which represent the currently living generations. In part, this is because memories fade and because my son’s generation in the family barely knew my grandmother who died in their early childhood or even my grandfather who lived almost a decade after. And to a large degree, this proved to be the case, but the project led me to a reconciliation of sorts with my grandmother whose influence on my life had been partially forgotten. Let’s start with some artifacts from my own childhood — two stuffed toys, a clown and a hobo, which I have treasured and protected few the years.

To understand the significance of these figures, you need to know, first of all, that my mother performed as a clown for charity and church events, that I also performed as a clown with her when I was a toddler, and that my mother’s best friend painted a portrait of her in her clown costume, making the maternal connection to clowning pretty inevitable.

The stuffed toys, however, were hand-made (from a kit) by my grandmother, who loved to sew, to crochet, to make afghans and quilts, to design hats, and so forth. So, there is also a strong connection to trace there. (Dominique Moody noted that my use of yarn to make my project connects it back to my grandmother’s “afghans,” a link I had not considered). But as I was planning this project, I remembered that I first saw the films of Charlie Chaplin and other silent clowns on television at her house, suggesting that the choice of the “hobo” as I always called him or “the tramp” was not coincidental. These were films she loved from her own youth and wanted to make sure were passed down to me. And it was the tramp figure that I really cared for, sleeping with it later in life than my brother saw as appropriate, whispering my secrets into his ear well into middle school. I had anticipated more connections with my mother who would go to movies and dinner with me while my father and brother went deer hunting, and this is largely the case, but somehow I had forgotten how bound up my grandmother was in my love of cinema, and suddenly memories of going to movies with her also came pouring out.

Given this history, it seems over-determined that I would write my dissertation on screen comedy — in this case, the vaudeville influence on the early sound cinema. But then What Made Pistachio Nuts? was dedicated to my grandfather, whose cultural imaginary was defined by the depression era and thus set me on the path to being myself interested in media from that period (And thus the postcard of Will Rogers I sent him when I visited the comedian’s house in Oklahoma while I was in high school or why this visit was so important to me in the first place. Most people today do not know who Will Rogers was..)

Other determinants here did not come directly from my father’s family: a box of World War II era Life magazines found in a trunk at my mother’s homestead, a local children’s show that played vintage slapstick comedies rather than cartoons, a local radio station that played old-time radio comedies, the republication of Liberty magazine in the 1970s… All of these things brought me back again and again to early 20th century history and culture.

As I reflected back on my experience watching television at my grandparents’ house, I made another connection. When we visited them on Sunday afternoons, we often ended up watching Mutual of Omaha’s Wild Animal Kingdom. Could this be why my first real job was at the Atlanta zoo or why I have had a life long fascination with animals and zoos (which I visit around the world)? It now seems to me more likely than not, but the thought had never crossed my mind.

If the stuffed toys offered a clue into a whole range of cultural exchanges, leading ultimately to my dissertation and book, we can go outward from the books (which often emerge from strong personal connections to the material) to family history. We might understand Textual Poachers to my wife’s involvement with fandom or my hazy memories of falling asleep watching Trek with my father, but it would also be connected to an older cousin, George, who was actively involved with the Atlanta science fiction scene in his teens and twenties, though excluding my mother’s family line from the conspiracy board means I can’t indicate those connections here. My involvement with Science Fiction Audiences which studied fandoms and audiences around Star Trek and Doctor Who can not be isolated from the fact my son and wife were obsessed with the British science fiction series (still are) and that my father made my son his own Tardis playhouse or that he went out trick or treating one year dressed as Jon Pertwee.

In my recent book, Comics and Stuff, I mention my father’s Pogo books, which I still cherish, even though I have most of this material in better editions.

Pogo was meaningful to my father in part because it was one of the few national cultural productions which was set in Georgia and because it was popular when he was a student at Georgia Tech in the 1950s. In fact, my mother drew a portrait of Pogo ‘Possum which hung behind his desk when he was a student and now hangs on the wall of my USC office.

A still like this one from the recent documentary, Wolfman’s Got Nards, about the cult that grew up around Monster Squad may also be read as a nexus across generations. My participation reflects my involvement in the 1960s monster culture, an interest I passed along to my son, who was the right generation to see Monster Squad when it was first released. In front of me on the desk are Dracula and Wolfman, two of the Aurora monster models my father helped me to build and paint in the late 1960s, alongside the Creature of the Black Lagoon, which I had given to my son, who has been fascinated by the character ever since I took him to see the film at the Egyptian.

And we might extend the connections down to my son’s love of horror writer Steven King, which puts his own spin on the cross-generational fascination with monsters. But we would also have to point to my wife who introduced him to Dark Shadows, reopening an old wound in my heart, since I was disappointed when my interest in Universal Monsters were upstaged by the Dark Shadow craze among my late elementary school classmates.

I was fascinated to find this photograph of my father as a boy wearing cowboy clothes, having evaded, and then finally succumbed to westerns, when I was in graduate school. Westerns were not watched in my household growing up. But connections across generations are more common, as in my mother’s love of Walt Disney translates in different ways to my brother’s (and his offspring’s) constant pilgrimages to Disney World and my own fixation with Ludwig Von Drake (shown here on a bank my son gave me for Christmas) who was my first role model for a professor.

I claim to look more like him with each passing year.

The earlier generation of women in the family have a strong association with crafts — from my grandmother’s hats (shown here in this picture) to my mother’s Bob Ross dabling with a paint brush to produce pictures of birds and flowers. Her art was always copied from other’s originals, though she had the talent — but not the confidence — to be able to create original work herself

The men are associated with tools — from the crosses, stars, boxes, and balls my grandfather crafted from metal to my father’s constant puttering in his basement workroom to my brother’s pride in his trucks (which he passed down to his sons). So, where do we situate my wife’s glassblowing — as a craft or as work with tools?

And where do I situate myself, since I am neither crafty nor handy with tools? I recall a moment when my father took me to a church he had built twenty years before (through the family construction company) and asked me what I could make which would last twenty years. The result was more intimidation than inspiration — a sense that nothing I could do would be valued unless it had this level of monumentality. I can’t begin to capture the laughter of triumph when Textual Poachers was released in a 20th anniversary edition, though my father did not live long enough to see it. My son seems to have inherited my aversion to both crafts and tools and my expression through writing.

We could go around and around the board, tracing these connections, showing how families are forged through shared cultural memories (the debates my father and I used to have following the airing of each new All in the Family episodes), how familiar consumer products become parts of shared rituals. My grandmother kept a roll of rainbow colored lifesavers in her purse and would give me one midway each church service, as she kept me calm while my mother sang in the choir and my father counted the money as a Baptist deacon. I recall looking ahead to see which flavor I would get the following week. All of this is to say that, following Raymond Williams, “culture is ordinary” and that the products of mass media become meaningful as a result of our relationships with each other. This is what I meant to communicate to my students through “The Conspiracy of Culture.”

My grandmother introduced me to Chaplin, she smuggled candy into the church to comfort me, but she also was the source of much of the Lost Cause ideology that engulfed me growing up. She was raised by her grandfather who had fought with the confederacy (a fact I share with discomfort today) and even more uncomfortably, was said to have owned slaves. I represented her taste in music here through Tennessee Ernie Ford’s Songs of the Confederacy. She is also the person who introduced me to Song of the South (another Georgia related property) and on the same date, took me up to the nose bleed section of the Fox Theater to show me the wall which once segregated off Black patrons. She brought me to the Atlanta Cyclorama which depicts the Battle of Atlanta and she pointed to a particular figure which she said represented my grandfather. This could not be literally true given people did not stop and pose for a portrait of the battle. But I always assumed he had performed a similar ritual of grounding his own experience in the painting. This was a moment of intense cross-generational transfer forever anchored in my memories today, even though I could not now replicate the gesture and point my son to the right spot. She wanted me to know “who I was” and “where I had come from.” As a young man, I was intensely proud of that connection with the Confederacy even as I was also actively learning as much as I could about the Black civil rights movement as it was taking place around me. I struggled to overcome the racism in the culture around me but I held onto symbols of my “heritage” which the Lost Cause ideology allowed me to isolate from overt forms of white supremacy. Now, I struggle to shed the residual of the Lost Cause ideology that flairs up at odd moments — a nostalgia for markers of regional identity that became associated with the Civil War era. Intellectually, I understand they are problematic, but emotionally, they still feel a part of me.

As I sat there, staring at the conspiracy chart, I did not know how to mark those connections — as a frayed yarn that I was struggle to severe? As we pass culture from one generation to the next, there is much that we love and cherish and somethings we need to shed and shred. Often both are handed down to us by the same people. This is also the conspiracy of culture.

How Journalists Might Better Meet the Information Needs of Communities: An Interview with Andrea Wenzel

Andrea Wenzel, the author of the 2020 book, Community-Centered Journalism: Engaging People, Exploring Solutions, and Building Trust, graduated several years ago from the USC Annenberg School of Communication and Journalism. While there, she worked with the Metamorphosis research group which has developed a distinctive vocabulary for talking about the narrative resources and networks that inform community life. I was lucky enough to have her as a student in my PhD seminar on the Cultural Studies of Communication and to have introduced her to my former MIT student and sometimes writing partner, Sam Ford, with whom she has been doing some collaborations around understanding the special challenges of providing quality journalism in small towns and rural America. Community-Centered Journalism explores a range of alternative models for how journalists might more productively engage with the citizens in their local areas to insure that their information needs are adequately met, that they are empowered to participate meaningfully in the decisions that impact their lives, and that trust is built and maintained across the process. This book could not be more cutting edge in the ways it explores what’s happening to news today even as it addresses core challenges which I recognized from my time as a local reporter almost forty years ago. For those of us who are invested in alternative models of participation, the book provides frameworks for thinking about how journalism might fit within a more participatory culture. I hope this interview will serve to introduce Community-Centered Journalism to readers who would not have encountered this book otherwise.

You write in your introduction that “dominant journalism norms and practices...often act as barriers to strengthening ties with local storytelling networks.” What are some examples of these “local storytelling networks?” What value do these networks bring to civic life? 

Local storytelling networks basically refer to the idea that in every geographic community you have different kinds of actors involved in telling that community’s story. There hopefully is some sort of local media, but often community organizations and other networks of residents also play an important role in how people find out what is happening in their area. Researchers have found that when ties between different actors in local storytelling networks are strong, residents tend to have higher rates of civic participation and a shared understandings of community issues. But the health of these networks depends on their being trust between these different parties, and in communities that have historically been stigmatized by negative news coverage that is often not the case. 

What aspects of dominant journalism seem to be having harmful consequences on how they operate? What other factors contribute to the relative strength of such networks?

 Probably the most problematic journalism norm that still circulates in many newsroom is the idea of “objectivity.” While that norm can be interpreted in many ways, the dominant interpretation has had the effect of creating distance between journalists and communities, and reinforcing whiteness. Even when journalists don’t intend for this to be the case, traditional ideas about what makes an authoritative source lead to overrepresenting people in positions of power, who are often white men. At the same time, many journalists avoid collaborating with community organizations due to fears of been perceived to be biased. All of this can strain relationships between residents and community groups and local media. Those relationships can also be complicated by factors such as political polarization, or divisions along lines of race, ethnicity, class, and language.

Speak about the paradoxes of local journalism. In many places, there is little or no local news being produced, but where it is being produced, it often plays a central role in the life of the community and is often a site of innovation in terms of how reporters relate to their readers. 

 We know too well that local journalism has been in crisis for some time, with a failed business model, and countless news outlets closing or becoming ghost newspapers that do not serve local information needs. At the same time, places that may at a glance have very little in the way of traditional news outlets can still be rich with communication resources. And, unfortunately, places that have multiple news outlets may not be serving all the communities in their coverage footprint equitably—complicating some interpretations of the idea of news deserts.

In my book I look at several cases where local journalists work to build relationships with residents and existing communication assets to develop coverage with and for communities. This includes initiatives I was involved in that grew from a process of assessing information needs and assets, discussing findings with groups of researchers, journalists, and community stakeholders, then collaboratively designing interventions that that combined elements of solutions journalism and engaged journalism. 

This community-centered process led to a project in rural Western Kentucky where an outlet called the Ohio County Monitor reimagined the local tradition of having society columnists to start a new community contributors project to give residents a chance to share first-person perspectives on a range of issues. They also organized listening tours in the cafes of convenience stations around the county where groups of local regulars would gather for coffee and conversation at self-described “liars tables”—which despite their name were often the best way to find out what was happening in the area. 

A similar community-centered process alto led to the creation of the Germantown Info Hub in a majority Black neighborhood of Philadelphia where residents wanted an alternative to historically negative and crime-centric coverage of their community. That project has grown into a community journalism project where a community organizer and a community reporter conduct outreach, share neighborhood stories online and on a community radio show, and host community discussions. 

 How might we contrast solutions journalism with a more conventional notion of watchdog journalism?

Solutions journalism, using the definition espoused by the Solutions Journalism Network, is essentially a call for journalists to rigorously report not just on problems but on responses to social problems. It challenges the traditional theory of change associated with watchdog journalism—that just adding sunlight to reveal a problem will automatically lead to change. Proponents of solutions journalism argue that in order for people to take agency to improve a situation they need to understand what change is possible, how it works, and the limitations of such efforts. 

 What relationship might we posit between engaged journalism and so-called citizen journalism?  Can one be engaged and objective at the same time?

Engaged journalism is a term that can and has been interpreted in many ways. I think of it as a range of practices that aim to build relationships between journalists and the public, to assess and respond to their information needs and interests, and to involve the public to varying degrees in the journalistic process. That involvement could include citizen journalism, but it can also involve people in different ways—contributing to the creation of stories or discussion of them. There can be a real spectrum of participation depending on the interest and labor citizens are able to contribute, and the degree of comfort professional journalists have in sharing editorial power. As I alluded earlier I think the dominant interpretation of objectivity has been operationalized in journalism in a way that is problematic. At the same time, I think most practitioners of engaged journalism would say they are not advocates for any particular issue but rather advocates for a community and its information needs.  

In the early 1980s, I was hired to be a feature writer for the Smyrna Neighbor Newspaper in what was then still a semi-rural suburb of Atlanta. Having never lived in that community before, I had little sense of what the needs or interests of the community were and felt bunkered in the newspaper office not sure where to go in search of good stories. Previously, my work as a student journalist had been within communities -- my high school and my university -- where I knew the people well. What are some of the options that a young reporter today might have as they sought to develop a deeper understanding of the community and its needs?

This is a great question and one that I think many new (and not so new) journalists grapple with. One of the competencies that I wish were taught more universally in journalism schools (or in newsrooms) is how to adapt community organizing strategies for journalism. These strategies often center the idea of relationship building and understanding local power dynamics and being mindful of one’s own positionality with these dynamics. Organizations like Free Press News Voices do a lot of great work and have some helpful online resources. I’ve seen them work with journalists on strategies like having one-on-one meetings with community stakeholders, asset mapping to understand local communication resources and power dynamics, and convening community discussions.  Another strategy I’ve seen work well is to have accountability conversations where journalists who cover a community join residents to talk about their coverage, creating 2-way feedback loops and opportunities to build relationships. And even for new reporters who may have limited resources, a lot can be accomplished by simply showing up to be in the community when not working on a story—be it for a community meeting or to go to a coffee shop (in a non-pandemic reality). People appreciate reporters who show up to get to know a community and not simply to extract quotes. The Listening Post Collective has some great tips about how to get to know the information needs of a community and build relationships.

As you describe across the book, your own journalistic experience and research has included work in public radio in Chicago and Afghanistan, in Los Angeles, Philadelphia, and Kentucky. What similarities and differences have you found in the informational needs of these very different communities?

A lot of the argument I make in my book is that you can’t impose a one-size-fits-all approach to local journalism. The same things that make an intervention responsive to a community’s information needs is the same thing that prevents it from really being scalable. That said, I’ve definitely seen a lot of common themes pop up in all the places you note here. This probably has something to do with the fact that many of the people I have spoken with in my work have come from communities that have been marginalized or stigmatized in one way or another. There have been common frustrations with feeling like outsiders—coming from another country or another part of a city—have not represented their stories in a way that felt fair or respectful to them. People in all of these places also shared with me a hunger to see more stories that highlighted community-driven solutions—be they a farmer in Afghanistan or a community organizer in South Los Angeles. Finally, while the specific information needs varied, in each there were often gaps between the actionable information residents often prioritized and the ideas journalists might have of what would make a story compelling or newsworthy—some of these complaints connect with calls by some to rethink a hierarchy of information needs in journalism. Reflecting back on what I learned from all of these different contexts, my big take away was actually pretty simple—community-centered projects are not really scalable, but a community-centered process is portable. I think listening to and working with communities to respond to both information needs and assets is our best hope for strengthening the communication health of communities. 

Andrea Wenzel is an assistant professor of journalism and communication at Temple University. She is the author of Community-Centered Journalism: Engaging People, Exploring Solutions and Building Trust (University of Illinois Press, 2020). As a Knight News Innovation Fellow with Columbia University’s Tow Center for Digital Journalism, she has led projects on local news with a focus on marginalized groups in rural, small town, suburban and urban communities. Her projects have explored issues of equity and inclusion, engaged journalism, and solutions journalism. She is the co-founder of the community journalism project, the Germantown Info Hub.

How Do You Like It So Far?: Sarena Ulibarri and Ed Finn on Solarpunk (Part Two)

HJ: A lot of the worldbuilding is going on not simply in the stories, but in the art and people are designing solarpunk worlds whichever radically different aesthetic from much science fiction art previously, they definitely don't look like the Apple store that Serena was talking about. 

SU: Yeah, I think the aesthetic is really important to the movement. I think it's what gets people's attention, more than the messaging necessarily, at least in the beginning. And yeah, it's kind of, it's a nature-based, it's kind of maximalist. And it's inspired by Art Nouveau, oftentimes - not all solarpunk is but I think Art Nouveau is a really important aspect of the aesthetic. Not only because it's a beautiful way to work in like nature imagery, but also historically, the Art Nouveau movement was a reaction against industrialization and capitalism. So it kind of fits in that way too. Art Nouveau rejects the idea that beauty is something that's just reserved for the rich. This was an artistic movement that everybody is entitled to a beautiful world. And that beauty and practicality are not mutually exclusive. So that's very much in line with solarpunk ideals. I'd love to see more solarpunk works really fully embrace the Art Nouveau aspect.

EF: Yeah and art is this technology for feeling, right? It's helping you. And I think imagination, one of its fundamental jobs is empathy, and allowing us to imagine the lives of other people and to feel things that we haven't felt before. And I think that some of the most interesting solarpunk art that we've been involved with at CSI has done that.

We did this project a few years ago called Luna City, which was like an immersive, theatrical experience of living in a city and on the moon in 2175, you got to go on a tour of this neighborhood. And it had lots of bamboo and a river running through the middle of it, and all these green plants totally unlike, you know, the Star Trek future or the 2001 future, and really organic and everybody was wearing these like flowing, you know, robes that that don't feel like space futures at all. And that I think was really powerful as a way to - it was a solarpunk future on the moon, right? It was a way to experience this integration of technology and the natural and the human in a way where, where people could actually live there. You can actually say, like, "Oh, I can actually live here." Whereas if you pause, you will get a lot of this sort of classic science fiction, these really Stark, modernist lines and you're like, "Would I want to live there?" You know, like, where do you put your trash? You know, does nobody own anything? Or always the most challenging question, "How could you raise a child?"

 CM: Everything is sharp, it's all pointy!

HJ: Well, you're touching on the design aspect and the fashion aspect of, again, if you look up solarpunk online and add fashion, you will see these remarkable designs taking place there as well, which is how it starts to bleed over into a lifestyle or a way of living in the world that solarpunk might represent. So can either you say a little more about fashion or music or some of these other embodied aspects of solarpunk?

SU: I keep waiting to see like really good solarpunk cosplay. And maybe when we come back to being able to do you know, cons again, after the pandemic, maybe we will be able to see more of that. But I, it's I've seen it mostly conceptual, rather than really embodied. But I might just be running in the wrong circles to really be seeing it. I think there's ton of ton of potential. And there's some really interesting, like sustainable fabrics, you know, mushroom leather, for example. And, you know, things like that, using different types of sources to create fashion. That I yeah, that I think have a lot of potential and are right now just very niche and probably too expensive to really be considered like solarpunk. But I mean, what if you can not only grow your own food, but what if you can grow your own clothes, like that would be amazing. That would be a really interesting change to fashion.

EF: I think the other place you see it is in, you know, weird and amazing research projects. So I had a student who's graduated from ASU, he's at MIT now, who was really interested in different fashion futures, solar futures, solarpunk futures, he was working on growable robots at our, when he was with us. So the idea that you would have something that would sort of grow on its way to Mars, and then it could be a robot once it got there. But he also did some really cool stuff with fashion. And I think that fashion is always pushing the boundaries of material science in lots of ways, right? They turned to the underwear manufacturers, when they were designing the first spacesuits for the Apollo program, because those are the people who really knew how to, you know, create support and structure. And the fashion now I think in solarpunk is looking for these, like, you know, programmable fabrics, and all this stuff that you can, is like right on the cusp, and you can do in a prototype that might or might not light on fire, but you know, isn't... I'm really excited, I agree with you Sarena, that, I think in the next few years, we're going to start to see a lot more wild and interesting stuff. Because people, that's another way in which you also make the future really personal, you know, if you make the future, something that you can put on and wear. I think there's a great interest in that. And fashion is this space where it there's a lot of ecological consequences to fast fashion, you know, disposable clothing. And it's one of those areas where I think there's a big imaginative shift that is maybe coming in the next few years.

CM: Yeah, I mean, I think it's, as you say, it's both palpable, when you can wear it, it feels real. But it also makes it feel possible, right to me, and so it feels in that way, it's like embodying the kind of solarpunk future that we're talking about in a way that says it's not only in the future, it starts now. And then the last piece, which is really important is ideally, it's cool, right? Like because this is you know, we know this from the Black Panthers and elsewhere like you want the revolution to look cool, so you want to be part of it. Right? It doesn't want to be that bad Star Trek or whatever that other futuristic version, in which there is no fashion there is no style. It's we're wearing uniforms.

EF: Lycra, it's lycra.

CM: Exactly! No, I want the flowy gowns from the moon or whatever the thing is right, that were grown in your backyard and yet look fabulous and don't stain!

SU: Yeah, and well it helps personalize it as well. Right? Not the monochrome jumpsuit, but the, you know, the really personalized, handmade, artistic piece of fashion.

CM: I mean, that feels to me like it's a reminder of the provocation that, it's back to what you said earlier, that it is personalized, that is localized, that the future doesn't need to be mass produced, but that we can imagine a different way of having sustainable futures which are indeed tied to precisely not that mass approach to things, so that to me feels like a profitable literally and figuratively, a really interesting space to dig into as something that maybe another earlier you know, edge of where solarpunk meets our current world. I'm sure there are other spaces like that, that feel kind of ripe for, that you can see, kind of emergent?

SU: Well, have you seen the Chobani commercial?

CM: No.

SU: Okay, look up the most recent Chobani commercial, it is absolutely solarpunk. And it's designed in this very like, yeah, actually one of the artists was a winner of a solarpunk art contest. So, I mean, it doesn't just look that way. It is like intentionally drawing from solarpunk aesthetic. It's a very short little story about like, you know, the future of sustainable farming. And so I was really kind of skeptical of it at first, because big corporation using solarpunk aesthetic, like, I don't know how I feel about that. But I looked into Chobani as a company, I think that they're doing about the best they can do in terms of sustainable sourcing and recycling and things like that, and they have goals, they have, like measurable goals that they're working towards. And so, you know, it's not the same as if, say Coca Cola was doing this. You know, there's been a lot of greenwashing and stuff.

CM: There goes our Coca Cola sponsorship.

SU: Oh sorry, you can cut that out!

HJ: Nope, in our dreams...

CM: That's a great indication, right? When the private sector, when they pick up on a thing, they're like, "There's some value here," right? "This is a story we want to tell." And I hear the ambivalence, too.

SU: But you know, I thought about it for a while. And I debated, am I behind this or not? And I think I'm happy that the solarpunk aesthetic is reaching more people, even if it is through a yogurt commercial.

EF: I think there are a few areas where our technical reach is still way ahead of our, certainly our moral grasp, but also sometimes just our imagination grasp. And I think synthetic biology is one of those areas where we have no idea what we can do right now, we can do so many things. And the tools are terrifying and incredible. And we have some great science fiction about synthetic biology and you know, different futures we could work towards. But I feel like we haven't even scratched the surface. And this idea of you know, growing stuff, like growing tools, growing building materials, growing infrastructure, right is really interesting and exciting the intersection of biology and material science, because there's so much of our built environment that feels, it's so industrialized, that it's almost magical, you know, we have no idea where it comes from, how it's made, what it costs to do it. And we're going to need to learn a lot more about those things and sort of demystify some of these industrial processes and open up some of these black boxes, and then maybe create new kinds of magic, where it's like, "Oh, it's local," like the farmers market is magical, you know, you go to the farmers market and eat this, buy this food that was grown here, wherever you are. And there's something amazing about that, and it tastes really good. Now, so that kind of localization and starting to create a new, new imagination, feedback loops, if that makes sense, around different - and where you actually know who all the people are, right? And you know, where your stuff comes from. Is at once incredibly mundane and boring. And we're talking about like, you know, your plates, or I don't know, building a new building or something. But it also I think, could be really amazing. They're doing all this crazy stuff with, I think, as Sarena mentioned, mushrooms and fungi before, right. I don't even know what is going to happen. But I think that's going to be a major set of transformations as people - all of those people who aren't probably talking to one another right now, start to talk together more and say like, "Oh, we've got this thing. We could do it for this."

SU: Yeah, I think that's a big part of what's going on right now is just everyone's in their own little corners. And it's not, it's not the collaboration that it could be. Another thing that I was reminded of when you were talking, I'm not even sure what remind me of this, but I saw an article about, there's like a robotic squid or something like that, that's helping to clean up the coral reefs. And so it looks like a squid or a fish or something and so it can kind of sneak in without disturbing the natural sea life, but its job is to go in there and remove waste and repair damages to the reefs and things like that. So, you know, there's all kinds of little, not little, that's probably a major project, but all kinds of projects like that that are that are happening. They're just not, large scale, they're not being utilized quite as much as they could be yet.

CM: To come back to kind of solar from that, from those sorts of developments to solarpunk, it seems like one of the neat things is to be able to kind of place those in conversation with each other, right? As not isolated developments around how we're using fungi or, you know, kind of the intersection of biology and mechanical things, but rather to see them as on this journey towards the future that we want, or more of the future that we want, that embodies some certain set of values, even not really precisely defined ones, but sort of a general direction. And that to me, that's what you could call, I don't know if solarpunk is a philosophy, but as an orientation for the people who are creating or using those tools or practices or technologies, that to me feels really valuable, right, to say, not just that we're, yes, you're cleaning up the reef, but it's within this broader context of this direction that we're going, and that that would seem to offer opportunities to put those different practices to collide them with each other and to see what comes.

SU: Yeah, I absolutely agree with you. I have nothing to add to it. That's, yeah.

EF: Picking up on something Sarena said before, you have to give people permission. And a lot of people don't feel like they have permission to do this right now. And also, the stories are not, at least the stories we make at CSI, are not intended to be the final answer. They're really just prompts to get people to do to do their own storytelling, right? And I think that what you really want is to inspire this sense of agency and responsibility. So people start to say, "Well, what about our reef?" Right? What if we started, what if we became custodians of this and started to feel a sense of responsibility and agency around it to start to care for it? Then we're gonna figure out a way, like, we're going to start with that goal, and then we'll figure out how we pay for it, and what the, you know, how we do it, and how we account for everybody's time and make it sort of make sense in the rest of the world. But changing that fundamental orientation, and then getting people, not to say, well, we have to, like write the story for everybody, right? But to inspire people to say, "Well, here's the goal, now you figure it out. What does this mean for you and your community?" in a way that's exciting and inspiring. I think that becomes for me, I think of that as imagination is this shared practice. It's a thing we do together as humans. And so how do we set the ground for that? How do we foster, cultivate, support that kind of shared imagination?

HJ: So thought shared imagination is not just U.S. based, but global, I think I'm struck Sarena by how many translations your press has been involved with in this space. So where are some of the other hubs of this dialogue? Where else in the world are people taking up the call of solarpunk and trying to contribute to this conversation?

SU: So, we have to start this with a shout out to Brazil, because they were the ones that created the first solarpunk anthology. That's the one that you mentioned, my small press had translated into English so that it could be part of this conversation. And it's a really interesting collection. I think most of the stories don't quite fit what we would call solarpunk now, they're, a lot of them are pretty dark, and they highlight, just because a corporation is green, that doesn't mean they're not still an evil corporation. But they're really good stories. They're a really good glimpse into speculative fiction from a part of the world we don't see much in translation from. And I don't know if Brazil is really producing a lot of solarpunk now, they might be, but from what I understand, there's a lot of innovation going on within Brazilian science fiction, like they just they love the punks, they've got all kinds of new punks that are very like Brazil-centric. And hopefully, we'll see a lot more of that going global at some point. But in terms of the other countries, Italy is a large one. That's largely thanks to Francesco Verso sorry, Francesco Verso, I probably still mispronounce it, who is, he's translated a lot of solarpunk fiction into Italian and has really just been a big voice for the movement worldwide. But also in Italy, people like Commando Jugendstil, they're an Italian collective of artists and writers. I published two of their stories in my Glass and Gardens anthology, but they've been doing a lot of really cool stuff with both artwork and fiction, in Italy. And then, with the Multispecies Cities anthology, we tried to, we centered Asia Pacific region, partially because there hadn't been a whole lot of those voices involved in solarpunk conversation. So the Multispecies Cities anthology is not exclusively Asian and Asian American, but it is majority Asian and Asian American voices. And we made that decision about two years ago, but it seems like even more important now, in light of the rising hate crimes against Asian Americans that we're elevating these voices, and showcasing better futures, that are free of that type of violence. So it's just interesting how the world and fiction are interact that way. But yeah, Australia has also been pretty well represented in solarpunk. I think there's a lot of, a lot of Australians seem to be very, very aware of immediate climate change issues.

EF: Yeah, my sense is that there are a lot of parts of the world where solarpunk doesn't really have to be a reaction to an overbearing, existing, sort of Western superstructure, because, you know, that never got built in the first place, right? And there's much more openness to say, well, we don't have to work through 100 years of industrialization, and all of the problems that that came with that we just need to live in the world now and adapt to conditions. We still have to deal with all the problems that that industrialization is causing us, even though it happened in other places and benefited other people, but, I think there's an openness. And in some ways, I'm speculating a little bit here, but my sense is that it connects to more traditional values and approaches of like, "Well, what does it mean to be in a community? How are we responsible to one another? And, how do we make things and care for our things?" You know, that solarpunk is not necessary, necessarily revolutionary, it's just something that makes sense. And it's a way to, it's just a different lens to talk about practices that people might have been doing for 1000s of years.

HJ: Is AOC, a solarpunk writer that is, can we think of something like the Green New Deal, and particularly the way it's being promoted actively through speculative storytelling, as a political outgrowth of the solarpunk movement? Or is that going too far, in thinking about what solarpunk is?

SU: I would say, yes. I think she's very much a solarpunk storyteller. And the Green New Deal is a sort of solarpunk imagining, and, to quote, I believe it's Jay Springett, who is a solarpunk writer, that "solarpunks can only be in dialogue with each other. And occasionally in chorus," is something like what his quote is. Meaning, there are plenty of people within the solarpunk community who are not entirely on board with the Green New Deal and who, you know, rightfully, point out some of its limitations and all that. So it is not like the epitome of a solarpunk, you know, policy, but, is it moving the trajectory of the world in a more solarpunk direction? I think so.

EF: Yeah, I think that I agree, radical change is possible, big changes are possible. And it's okay to talk about big changes. I think those are, that's a shift in registers, that was unimaginable, I think, two years ago. I was really struck last year by these huge aid packages that everybody was on board with, you know, the republicans in Congress, being totally on board with these massive, federal investments and giving everybody a check to support people during this incredibly hard year. And even a couple years ago, that would have been pretty unthinkable. So I think that the idea of change is something that everybody is a lot more open to right now. And that we can collectively imagine better futures. And not just do that as an armchair exercise, but actually try stuff and make big bets. You know, try big experiments, that feels like a shift, you know, that feels like a radical break, caused by all sorts of things, political, environmental, you know, epidemiological, and we have to make the best of it, right? We have to we have to try to address these challenges while we have the chance.

CM: Well, you have given me at least a good deal of hope about our capacity to address these challenges and some of the practices and, and ways of engaging that will help us on that journey. So I appreciate you joining us today. It's really been a great conversation.

HJ: Yes, thank you so much!

SU: Thank you. This was great.

EF: Yeah, thanks for having us, this was awesome.

HJ: So a few weeks back, we had the folks from Pop Culture Collaborative on the show. And it strikes me that solarpunk is just a fabulous example of what they're describing as narrative change. That is, this genre that has emerged from a social political need to think about sustainable futures has spread outward in a variety of different directions. But it is designed to have us think about better futures, to dream bigger, to use narrative as a tool, as a way of getting people to think differently about the world they live in.

CM: I mean, I was talking to my kids last night, who were saying something about how the future was terrible, and the planet was going to end, and we were all going to die. And I immediately came to solarpunk. And I said, you know, actually, that's not - I felt obligated just, first of all, to acknowledge that that doesn't have to be the future, that we can think about the future and other ways. And I realized how from, you know, from Hollywood, and kind of big picture, narrative change, all the way down to how we interact with our communities, that sort of optimism and the freedom to think of futures that are appealing. And as we heard, beautiful, right? And this whole, the notion of solarpunk that it is this chance to change how we think about our futures and to imagine the futures that we want, and to imagine beauty in the futures and inclusivity. And many of the vestigial and ongoing challenges of our age. But to reimagine those, and to speculate then on how we get there.

HJ: And part of what I love about it, is that it's a global conversation. So we're bringing in Brazil and Australia and Japan and Korea...

CM: Italy

HJ: ...Africa, into this question about a sustainable future, you know, and it's emerging at this moment where Trump has pulled us out of the global Paris negotiations on the environment.

CM: And what I like about all those different perspectives is, one is, it sort of implicitly pushes back on this notion that efficiency is going to win, and bigger and better. And we need a global solution, but to acknowledge regional, national, local, very local solutions to our challenges, and also allows those many different cultures, both in those particular countries and within those countries, to imagine the futures that they want, right. So it doesn't have to be one big future that we all agree on, but rather that it can feed from many different traditions and cultural contexts and different ways of living. That which, on one hand is more inclusive, because people can see themselves in that future. But it's also really fun for the rest of us, in the same way that we'd like food from all over the world, to imagine these futures and these ways of creating them, that are based on different sets of practices and dynamics. So that to me just feels infinitely more generative in terms of the possibility set of what futures and elements of our futures could look like.

HJ: Well, I think there's a fascinating trajectory to be drawn from the punk rock movement, which comes out of Reagan's America and Thatcher's Britain.

CM: Right.

HJ: And is angry as hell, right? To cyberpunk, which has a certain ambivalence about technological change, and progressively became more and more rancid, in its vision of the future. And at once embraced the integration of human and machine, the cyborg identity, so forth, but then, at the same time, was horrified by it. And it's that push-me-pull-you around technology that it sought to express.

So then the steampunks say, "Wait, we've got to go back and reclaim the beauty of the machine and our relations with it," but go back to the steam snorting era of the past, which is precisely what the cyberpunk creators were trying to push back against. So they designed alternative paths. But solarpunk now is designing alternative futures and holding on to the beauty that the steampunk creators embraced. But doing so in a way that is high tech, low tech, but above all, integrating nature and machine together in a new way. And what's striking about all of those movements is that they are artistic movements, not just literary genres. Each of them in their own way became spread across all of the arts, painting, music, fashion...

CM: Furniture, everything!

HJ: ...by those different aesthetics, you can hear it in the music associated with each of those movements. There's an anger to cyberpunk music, there is a quirkiness about old, creating your own inventions for steampunk music, and there's a kind of new age, natural integration that goes into solarpunk music. So all of that comes together. But each of them are both DIY in one way or another. Maybe steampunk the most, in that it really was inspired by a few books, but was built ground up by the fans, through cosplay, and maker culture, and so forth. But solarpunk is not far behind in that, and each of them, because they have a distinct attitude toward the machine and society, have become activist movements as well with again, solarpunk, maybe, in the clearest trajectory toward narrative change that starts with speculation ends up in activism. 

CM: And I love how, I mean, that was an amazing description of those different movements, and really interesting to think about how they're responding kind of as you observed with the original punk, to different elements of their time, right, in different sort of what's happening then. And so what we heard in the conversation today was that what made it punk was taking back control of products, in some sense, right, regaining control, which also takes us back to Cory Doctorow's book way back when? A natural feature of our world today around technology, and the DIY-ness of it, right, so some of these things, DIY, have endured over these different movements, and others may be responding to the political leadership or what's happening. And now you have the, as you note, the environmental piece, right, which, even though the climate crisis has long been happening, we're maybe now reaching fever pitch. So you see that being baked in more deeply to the movement. So I love that, you know, maybe the shared DNA mixed with the new elements of the day that that really do respond. And I think that, it seems to me that both the that backbone, along with the adjustments and additions of today's concerns are what make it so relevant, right? What make it speak to us now, because it's speaking about the worlds that we're inhabiting, and the worlds that we could be inhabiting, in a way that's very, you know, that's palpable. And hopefully, that's actionable, right? Where we feel like we can make a difference. And to me, that's, that's tremendously exciting.

HJ: You know, and I think that we, if there's one strand running through the last eight or nine months of, you know, last two seasons, really of this podcast, it has been the power of speculation going back to the stuff we did, you know, at the beginning of the pandemic, were science fiction writers, like Bruce Sterling and talking about Japanese... But that was a darker speculation.

CM: Yeah. 

HJ: Now, as we're in the Biden era, and we're looking at maybe some end of the pandemic, it's now time to think about how do we build back better, as Biden would put it? Or how do we talk about what we want rather than what we don't want as our guests put today? Or how do we extend the horizon to tell the story of climate change, not in that news frame, that is so hyper, located in time, as the way we talked about it last week. So the theme of speculation, I think's become an important one. After all, how do we like it so far? What's coming next, as a phrase?

CM: Well, speaking of what's coming next and speculation I am, I could not be more excited about our next show when we're gonna have SB Divya and Jonathan Keats. So we have, Divya is a science fiction writer, solarpunk writer, scientist, and remarkable thinker about the future. And Jonathan, as an artist, I think he calls himself an experimental philosopher, among other things, and author, really has done remarkable thought experiments that change your idea about as with Divya's work about what, or challenge your ideas about what humans are, about time and how we think about time and the nature of time. So I'm really excited to continue this, our own speculation about speculation.

HJ: It's gonna be fun.

CM: So next week we're going to continue building on these themes with SB Divya and Jonathan Keats. Divya is a scientist and engineer, and author and editor, recently has a great book out called Machinehood, and other solarpunk things in the works and out there. And Jonathan Keats is an experimental philosopher, author and just troublemaker. 

CM: This show could not happen without our amazing production team, which includes Josh Chang, Sophie, Madej and Alexander Yeh. They are all amazing and the core of our enterprise.

HJ: We also thank University of Southern California Annenberg School and the MacArthur Foundation for their support for our activities, even though we're no longer recording out of the wonderful studios at Annenberg, but are recording wherever our laptop happens to be at any given moment in time.

CM: And most of the time, we are here in Los Angeles, like the USC campus, which rests on the historical lands of the Tongva and Gabrielino People and we appreciate their stewardship. In addition to finding us wherever you find your podcasts, we are on the web and howdoyoulikeitsofar.org, all one word as it were, and on social at H-D-Y-L-I-S-F, both on Twitter and Instagram. So check us out, say hello!