Star Gazing: Hollywood Cinema and Female Spectatorship by Jackie Stacey is a study that focuses on British female audiences and their practices in consuming film. This is a much too brief and simplified discussion of Stacey’s complex and skillfully argued book. In her research, Stacey studied British women and their experiences of Hollywood stars during the 40s and 50s. Stacy solicited female readers through two major women’s magazines and asked them to write about their memories of film-going during the two decades. The respondents who answered Stacey’s ad received a questionnaire which they filled out and returned to Stacey. Stacey, as a feminist, used the qualitative method of written self-reports to counteract certain oversights in feminist cinema studies; primarily the theoretical and methodological tendency to dissociate the “spectators” of cinema from actual film viewers. The exclusion of actual audience responses allowed feminist film researchers to overlook two things. First, it helped to maintain a questionable textual determinism concluding that female viewers passively identified with the viewing positions presented by the film text. These viewing positions defined by the researchers were argued to be the only ones open to women, and were primarily male spectatorship positions ideologically consistent with patriarchy. Secondly, the absence of empirical data left out the experiences of actual female viewers whose experiences possibly contradicted the theoretical constructions of academic film scholars. In this regard Stacey’s work resembles Janice Radway’s attempt to redeem the romance novel by investigating the reading rituals of actual romance fans in their domestic contexts. Both researchers discovered complex and contradictory tendencies in women’s consumption of popular culture texts that ran counter to feminist orthodoxy.
On August 21, 2011 our server in the Netherlands was shut down due to complaints made against content on our website. We must make clear to all our readers and to those who would wish to do us harm: everything we post on our site is publicly available. We do not “hack” anything. We do not “leak” anything. We distribute information that is already publicly available.
If we have posted information from your company, military unit, government agency or other corporate entity it is only because you or someone connected to you has published this information themselves by making it available for all the world to see. Our only belief is that knowledge is free and that when you post your information to public networks for anyone to see, the public, who can so benefit from that knowledge, should be encouraged to see it as well.
The information published on our website has been referenced in news articles by Newsweek, Time, Vanity Fair, Mother Jones, Slate, the Atlantic, Wired, the Christian Science Monitor, the BBC, Der Standard, Aftenposten, the Toronto Star, the Guardian, Fox News, Foreign Policy, the Center for Investigative Reporting, NPR, Talking Points Memo, Gawker, Al Jazeera, the Los Angeles Times, the New York Times and Reuters, as well as a variety of other newspapers and publications around the world.
The Journal of African Media Studies (JAMS) provides a new platform to debate issues about media, communication and culture in Africa. Our first goal is to promote the often neglected but important area of media research in Africa. This is borne out of a realization that most African countries have different but shared geographies, histories and experiences. Although the mass media were brought from outside the continent during colonialism they now become a formidable power with influence on many aspects of life on the African continent. JAMS aims to promote research that deals with the everyday lived experiences of individuals and communities in their interaction with different kinds of media. The journal interprets media in the broadest possible sense, incorporating not only formal ‘mass’ media, such as radio, television, print, Internet and mobile telephony, but also ‘informal’, ‘small’ or ‘indigenous’ media such as music, jokes and theatre.
The second imperative for JAMS derives from our desire to contribute to the growing body of empirical work in media, communication and cultural studies. In this regard, JAMS complements other existing English-language and area-focused media, communication and cultural studies journals that promote research on marginalized and often ignored contexts (e.g., Latin America, Middle East and Asia).
The third related, and more political, imperative for JAMS arose from the now firm realization that the bulk of work in media theory is ‘based upon data from just two spots, Britain and the United States, which have […] remarkably similar leitmotifs in their cultural, economic and political history that mark them out from other nations on the planet’ (Downing 1996: x). We see the role of JAMS as providing perspectives that help free the field from the stranglehold of theories from one particular context (see also Ake 1982; Sparks 1998; Nuttall and Michael 1999; Park and Curran 2000; Hart and Young 2003; Abbas and Erni 2004; McMillin 2006; Thussu 2007). We aim to contribute to the ongoing re-positioning of media and cultural studies outside the Anglo-American axis. Left unchallenged, this gives rise to ‘the most often mistaken impression that the Western text and Western ways of making meaning are universal, and, therefore, to be copied by academics the world over’ (Nyamnjoh 1999: 17–18). We are particularly interested in fresh empirical evidence and theoretical perspectives that help engage with the dominance of Western theories in the global field of media and communication.
This inaugural issue comprises two parts. The first half of the issue engages with the meaning and positioning of ‘African media studies’ and evaluates past and present work in the field. The second part provides case studies on the relation between media and social change in different parts of Africa and highlights the importance of music, oratory and popular culture in mediating social and political commentary.
Welcome to the website dedicated to the KZSU-FM (Stanford University) radio interview show and podcast Hearsay Culture, hosted by Dave Levine, an Assistant Professor of Law at Elon University School of Law and a Non-Residential Fellow at the Center for Internet and Society (CIS) at Stanford Law School. In sum, each 50-55 minute show is designed to cover modern technology/Internet issues, but not from a purely law or geek perspective. From the KZSU-FM schedule description: “An interview talk show that focuses on the intersection of technology and society. How is our world impacted by the great technological changes taking place? Each week, a different sphere is explored.”
The name “Hearsay Culture” derives from the notion that technology — particularly the Internet — requires that humans filter information and decide how much weight is given to it. In United States law, “hearsay evidence” is generally defined as “a statement made out of court and not under oath and offered in evidence as proof that what is stated is true.” In that way, we live in a “hearsay culture” — the massive amount of information that people who interact with technology confront must be filtered with the consideration that it, too, might be hearsay.
Since its founding in May 2006, Hearsay Culture has received very favorable (and unsolicited) reviews on blogs and technology websites including ZDNet (“Some of the best discussion I’ve heard to date (and certainly recently) about the economics of intellectual property in the technological era …”), Concurring Opinions (listing the show as one of the author’s six favorite podcasts of 2007), and Technology Liberation Front’s Tim Lee (reviewing interview with Prof. Richard Epstein, and author noting that it is “one of [his] favorite podcasts”).