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In this paper, I intend to explore the role played by reflexivity in grounding a more critical perspective when designing, implementing and analysing participatory digital media research. To carry out this methodological reflection, I will present and discuss a recently concluded research project on young people’s game-making in an after-school programme targeting Latin American migrants in London/UK. I will pay special attention to how my subjectivities influenced planning, data generation and analysis of this programme, and to how context, lived experiences, curricular decisions and interpersonal relationships shaped the kinds of knowledge produced through this research. Findings emerging from this experience included relevant dissonances between curricular design/decisions and the use of participatory approaches in game-making, and the limitations of traditional analytical categories within the Social Sciences field (e.g., gender and intersectionality) to understanding subjectivities expressed through game-making. This study offers relevant insights into the place of reflexivity in research on digital media production by young people by highlighting its complexity and by calling for more critical and less homogenising approaches to this type of research.

This book explores the political, economic, and cultural forces, locally and globally that have shaped the evolution of Chinese primetime television dramas, and the way that these dramas in turn have actively engaged in the major intellectual and policy debates concerning the path, steps, and speed of China’s economic and political modernization during the post-Deng Xiaoping era. It intertwines the evolution of Chinese television drama particularly with the ascendance of the Chinese New Left that favors a recentralization of state authority and an alternative path towards China’s modernization and China’s current administration’s call for building a "harmonious society." Two types of serial drama are highlighted in this regard, the politically provocative dynasty drama and the culturally ambiguous domestic drama. The book also provides cross-cultural comparisons that parallel the textual and institutional strategies of transnational Chinese language TV dramas with dramas from the three leading centers of transnational television production, the US, Brazil and Mexico in Latin America, and the Korean-led East Asia region. The comparison reveals creative connections while it also explores how the emergence of a Chinese cultural-linguistic market, together with other cultural-linguistic markets, complicates the power dynamics of global cultural flows.

This book examines the phenomenon of prime time soap operas on Indian television. An anthropological insight into social issues and practices of contemporary India through the television, this volume analyzes the production of soaps within India’s cultural fabric. It deconstructs themes and issues surrounding the "everyday" and the "middle class" through the fiction of the "popular". In its second edition, this still remains the only book to examine prime time soap operas on Indian television. Without in any way changing the central arguments of the first edition, it adds an essential introductory chapter tracking the tectonic shifts in the Indian "mediascape" over the past decade – including how the explosion of regional language channels and an era of multiple screens have changed soap viewing forever. Meticulously researched and persuasively argued, the book traces how prime time soaps in India still grab the maximum eyeballs and remain the biggest earners for TV channels. The book will be of interest to students of anthropology and sociology, media and cultural studies, visual culture studies, gender and family studies, and also Asian studies in general. It is also an important resource for media producers, both in content production and television channels, as well as for the general reader.

Tamil television lends itself to some interesting initiatives in gender empowerment through its programming in 3 categories – fiction, reality, and talent shows. This chapter provides a glimpse into television programmes on leading Tamil channels over the last decade (2000–10) from a gender perspective. Focusing particularly on women and transgender characters/hosts, emotional and psychological quotients of the shows and their audiences, moments of dramatic intensity, the chapter demonstrates how the vernacular televisual representations were quite different from the stereotypical portrayals of the mainstream ‘national’ television, even though the programmes were produced, televised, and received within the broader patriarchal framework of Tamil cultural and political contexts. The chapter, as a whole, intends to look at the production, representation and identification of Tamil television soaps and reality shows as vehicle for spotlighting gender issues and alternative sexualities in the public domain.

This chapter explores the contradiction between two sets of responses to the so-called K-serials, earlier, largely condemnatory ones, and more recent, largely laudatory ones. The chapter aims to understand this contradiction and resolve it. It does so by showing how K-serials were a definitive break at that specific point in time from the ones that had immediately preceded them, especially in bringing to the fore the bahu (daughter-in-law) of Hindu urban extended families. It traces the complex place of gender in the discourse of the Hindu right and explores the strong debt that the K-serials owe to the ideological constructions of the woman and the family by Hindu nationalism. It argues therefore that the consequences of celebrating agency and empowerment in a right wing milieu-as some recent scholarship has done-ends up advocating for a limited and exclusionary form of female agency.

The chapter argues that Paul Ricouer’s hermeneutics offers a way forward in examining not only the ideological and narrative structures of television, but also particular modalities through which viewers appropriate and interpret televisual texts. To this end, the chapter shall sketch an analytic framework by bringing together Ricoeur’s hermeneutic philosophy, particularly his concepts of narrative identity and temporality, and the notion of social imaginaries developed by postcolonial theory in a productive dialogue. Ricoeur’s hermeneutics presents an understanding of the human subject in terms of an embodied subjectivity that takes us beyond singular conceptions of identity, whether in terms of the abstract Cartesian subject, or various other discourse-centred theorizations of subject. The chapter demonstrates that the notion of embodied subjectivity and social imaginaries enable a better grasp in examining the articulations of class, caste, gender, and religious identities on Indian television.

Animation allows for the creation of mediatic spaces that strengthen prevailing ideologies of masculinity and femininity. Manhood seems to operate as a key point of reference in the creation of televised animation across Latin America, especially by elevating certain heroic cultural narratives. Through a review of 21 television series, produced between 2008 and 2018, this chapter examines the portrayals of femininity and masculinity in some of the most widely broadcast animated series from the region. As a norm, Latin American illustrators adhere to the tradition of depicting female figures as secondary characters, as leading characters with a certain degree of autonomy, or as subaltern, considerate, and supportive figures. By contrast, male figures are portrayed as strong, daring, independent, and primary characters, often destined to lead their families and communities, and save their weaker friends that are typically female characters.

This book seeks to interrogate the representation of Black women in television. Cheers explores how the increase of Black women in media ownership and creative executive roles (producers, showrunners, directors and writers) in the last 30 years affected the fundamental cultural shift in Black women’s representation on television, which in turn parallels the political, social, economic and cultural advancements of Black women in America from 1950 to 2016. She also examines Black women as a diverse television audience, discussing how they interact and respond to the constantly evolving television representation of their image and likeness, looking specifically at how social media is used as a tool of audience engagement.

"This book considers the changing nature of intimacy in contemporary China, providing a unique case study of romantic subjectivities in young people in the world's fastest growing economy. Since the implementation of reform in 1978, the economic and socio-cultural environment of modern China has experienced a dramatic transformation under the influence of urbanization and globalization, facilitating more individualized identity among Chinese youth. This book bridges the gap between an emergent emphasis on individualisation and the country's traditional norms and values. It focuses on young people's understandings of various forms of relationships such as cohabitation, extramarital relationships and multiple relationships, suggesting a challenge to traditional familial values and an increasingly diversified understanding of the concepts of love and romance. By examining the formation of relationships among 21st century Chinese youth, notably through the lens of popular Chinese TV dating programs, this book considers how dating and relationships mirror China's changing societal structure and examines social and cultural transformations in Chinese society."

This chapter analyzes the reflections of Turkey’s neoconservative and neoliberal politics of gender on daytime television. The focus is on Bridal House, a popular daytime TV show in Turkey which interpellates women as domestic subjects competing with other women to prove their domestic abilities, particularly the ability to navigate the etiquette of domestic consumption. Hierarchies are instigated among women through symbolic battles on “tasteful” consumption, and the marital household surfaces as a space of constant regulation where women strive to be ideal housewives. By analyzing Bridal House through a Bourdieusian framework, this chapter traces the representations of the “ideal female subject” along neoconservative and neoliberal lines, and demonstrates the ways in which symbolic violences are enacted on women in contemporary Turkey’s daytime TV culture.

Before the liberalisation of television in 2000, Pakistan had one terrestrial channel.The Pakistan Television Corporation (commonly known as PTV) had been the statebroadcaster since 1964 and thus PTV content reflected the policies of differentgovernments. Liberal governments relaxed control over gender on screen – womencould be seen without dupatta – while religiously inclined governments brought intheir own agendas with restrictions on appearance of women, such as the dupattapolicy (see, for example, Ali, 1986; Suleman, 1990; Kothari, 2005; Nasir, 2012).1 In2002, the Independent Media Corporation launched its channel Geo News fromPakistan, followed by other networks, marking the formal launch of the policy ofliberalisation of media on television. Presently, five media groups have control of thePakistani media industry, including electronic and print media. These are Inde-pendent Media Corporation, Pakistan Herald Publications, ARY Group, WaqtGroup and Lakson Group (see for example Proffitt and Rasul, 2013). The broad-casting industry in Pakistan follows an advertiser-driven model that is run through asystem of ratings. At the time of the fieldwork reported here (October-April 2011),Media Logic and Gallup were the two operators that determined the popular tastesof consumers through ratings.2

This poignant assertionby acclaimed actor Viola Davis, star of the series How to GetAway with Murder (ABC, 2014-), during her Emmy acceptance speechwent viral and becamethe flashpoint for heated discussion about contemporary television’s representational practices. The statement draws attention to questions of taste, what is acknowledgedby the industry and audiences as quality television and the political economy of thecontemporary industry. This moment in television history, with its attendant socialmedia afterlife, captures the key elements I wish to explore in this chapter: represen-tations of women of colour, production practices and viewer responses. As Viola Davisnotes in the quote above, the contemporary US television landscape offers limited rolesfor people of colour. The few shows starring people of colour have become the focus ofintense social media exchanges. In this chapter, I will explore how televisual womenof colour have become a key site from which viewers assert a possessive investmentof racialised identity. By focusing on social media responses, I delineate the ways inwhich viewers invest symbolic and literal ownership over these representations.Through such a multifaceted examination, this essay aims to elaborate how women ofcolour are accommodated within the concept of television for women, a term inter-rogated in this volume. In addition, I illustrate the ideological instability of the term‘women of colour’ and the capaciousness of the concept ‘television for women’.

Since its invention, television has been one of the biggest influences on American culture. Through this medium, multiple visions and disparate voices have attempted to stake a place in viewer consumption. Yet even as this programming supposedly reflects characteristics of the general American populace, television-generated images are manipulated and contradictory, predicated by the various economic, political, and cultural forces placed upon it. In Shaded Lives, Beretta Smith-Shomade sets out to dissect images of the African American woman in television from the 1980s. She calls their depiction "binaristic," or split. African American women, although an essential part of television programming today, are still presented as distorted and deviant. By closely examining the television texts of African-American women in comedy, music video, television news and talk shows (Oprah Winfrey is highlighted), Smith-Shomade shows how these voices are represented, what forces may be at work in influencing these images, and what alternate ways of viewing might be available. Smith-Shomade offers critical examples of where the sexist and racist legacy of this country collide with the cultural strength of Black women in visual and real-lived culture. As the nation's climate of heightened racial divisiveness continues to relegate the representation of Black women to depravity and display, her study is not only useful, it is critical.

"Surveying the latest Chinese TV shows centered on romantic relationships, this book joins the expanding body of literature on the ever-evolving structures of feelings while breaking new grounds in media studies. With its thorough investigation of a wide range of genres, narratives, and public discourses, the volume makes timely and significant contributions to the fields of media studies, China studies, and the cultural history of love and romance."--Hui Faye Xiao, University of Kansas, USA "What does romantic love mean for Chinese people today? How is love represented in popular Chinese television programs? Huike Wens fascinating and important book explores how romantic love promises young Chinese urbanites individual freedom, fulfillment, and purpose in life, yet also plays an ideological role in creating social cohesion and maintaining traditional patriarchal values in post-socialist China. An entertaining and thought-provoking insight into how love functions in contemporary Chinese society." --Hsu-Ming Teo, Macquarie University, Australia This book examines how representations of romantic love in Chinese television programs reflect the contradictions inherent to changing dominant values in post-socialist Chinese mainstream culture. These representations celebrate individual freedom, passion, and gender equality, and promise change based on individual diligence and talent, while simultaneously obstructing the fulfillment of these ideals. Huike Wen is an Associate Professor at Willamette University (Salem, Oregon). Her research focuses on the intersection of genders, emotions, media technology, and nations in transnational Chinese and East Asian media and culture.

Television and the Modernization Ideal in 1980s China: Dazzling the Eyes explores Chinese television history in the pivotal decade of the 1980s and explains the intellectual reception of television in China during this time. While the Chinese media has often been a topic within studies of globalization and the global political economy, scholarly attention to the history of Chinese television requires a more extensive and critical view of the interaction between television and culture. Using theories of media technology, globalization, and gender studies supplemented by Chinese periodicals including Life Out of 8 Hours, Popular TV, Popular Cinema, Modern Family, and Chinese Advertising, as well as oral history interviews, this book re-examines how Western technology was introduced to and embedded into Chinese culture. Wen compares and analyzes television dramas produced in China and imported from other nations while examining the interaction between various ideologies of Chinese society and those of the international media. Moreover, she explores how the hybridity between Western television culture and Chinese traditions were represented in popular Chinese visual media, specifically the confusions and ambitions of modernization and the negotiation between tradition and modernity, nationalism and internationalism, in the intellectual reception of television in China.

An old adage prescribed that “art imitates life.” If one believes this to be true, then it is plausible that entertainment is a source from which information about everyday life can be gleaned? Can U.S. television shows provide a looking glass into how Americans perform certain aspects of their lives? For a “real” look into how careers are performed, I have examined content from a reality television show which bears a title that implies something about the cast— the Bravo Network’s Real Housewives of Atlanta series. This show was chosen for two reasons. First, The Real Housewives of Atlanta is the most popular show among the “Housewives” franchise. Thus with each airing of the show, those who watch have the opportunity to learn more about the career aspirations, roles, and behaviors, of the cast members. Second, this is the only show within The Real Housewives franchise that features a primarily black cast. As such, the question emerges— can this show provide insight into the way black women construct their career roles? Another goal of this study is to determine how cast members construct notions of housewifery. Hence, throughout this chapter, readers will see that these women are not the typical “housewives,” rather they have reinvented what it means to be a housewife in the modern age.

Within Spoken Soul, better known as Ebonics, the term down can be used as an adjective to describe a person that willingly yields a tremendous amount of support to another person. The “Down Ass Bitch” (DAB) is a controlling image of the black woman that calls for her unwavering support of the black man, even when it is pernicious to her best interest. In fact, we can see this in the black community on many levels: (1) from black women faithfully waiting years for men to be released from prison; (2) hiding domestic abuse or rape at the hands of black men for the sake of protecting the race; or (3) sexually exploiting our bodies for the financial benefit of black men. However, what is most interesting about this particular stereotype of the black woman being “down” for her man is that this is not an expectation that is asked of the black man. It is this author’s contention that the “Down Ass Bitch” is obsequious to the powers of black men— though she is portrayed as being strong, aggressive, and assertive. Essentially, the “Down Ass Bitch,” a highly celebrated image in the black community, is the black version of the submissive white woman, the Eurocentric construction of the idealized womanhood. Various controlling images of black womanhood— such as the mammy, the jezebel, and the welfare queen— served as justifications for the oppression of black women and have been discussed significantly by scholars.

In recent years, scripted television has been joined by a more “realistic” look into peoples’ lives— reality television. Reality television claims to give viewers an unmediated glimpse into how real people live. The “realness” of reality television invokes controversy by providing a voyeuristic and potentially exploitive look into people’s lives. As the genre has matured, shows that offer insight into communities that are systemically underrepresented have become common. Indicative of this trend are shows that depict the lives of African Americans and opportunistically exploit representations of black culture for drama, ratings, and profit. One network that has taken considerable advantage of this is VH1— first, with the success of Flavor of Love and its spinoffs, then more recently with shows such as Basketball Wives and Love and Hip Hop. In fact, the excessive amount of fighting among Black women on Basketball Wives led to a boycott of the show, which prompted creator Shaunie O’Neal to promise less violence in its next season. Akin to Basketball Wives , Love and Hip Hop Atlanta exemplifies the trend of exploiting black culture. As members of the black community, we find ourselves both intrigued and troubled by the implications of the show. Capturing the essence of our paradoxical interpretation of Love and Hip Hop Atlanta — as one of many reality television shows that simultaneously reproduces and challenges negative stereotypes about blackness— are contradictory headlines such as “The 21 Most Ratchet Women of Black Reality TV,” “How Reality TV has Changed our Daughters,” and “Wealthy Reality Stars Humanize Black Women.”

Reality programs rose to prominence based on claims that the shows depicted “real life,” but in recent years many shows have come under fire for being anything but “reality.” Orbe (1998) suggests viewers are drawn to such programs based on the notion that they show “real people in everyday interactions,” and there is a certain level of “unpredictability that comes with reality.” However, what has become predictable and potentially problematic, over the past two decades, are the negative stereotypes associated with African American women on these programs. This skewing of reality is particularly significant when we consider the limited opportunities these shows provide viewers to witness the many facets of black womanhood. From the head-bobbing and finger-waving of Alicia Calaway on season two of the hit show Survivor to the on-and-off-air mudslinging between Kenya Moore and NeNe Leakes of Real Housewives of Atlanta fame, black women are portrayed as disloyal, bitchy, lazy, difficult to work with, and a threat to others.

Tyra Banks, supermodel and producer, is the creator of the reality show America’s Next Top Model ( ANTM ), which is now in its twenty-second cycle, and features contestants who present themselves to a panel of judges for modeling critique. ANTM has been nominated for twenty-nine awards, including the GLAAD Media Award and Image Award, and the show has received five awards in 2009 from the Teen Choice Award and the Director’s Guild of America Award. Further, ANTM is currently shown in over 120 countries. The winner of each cycle receives a featured spread in a magazine, a modeling contract with a prominent agency, and a $100,000 modeling contract from a cosmetics company. In 2005, however, there was an infamous episode— dubbed the “Tyra Tyrade,” —where Tyra Banks yelled at a contestant whom she had just eliminated from the show. This episode was parodied more than any other ANTM episode, with the penultimate parody shown on a 2007 episode of Family Guy (a primetime cartoon television show with millions of viewers each week), where Tyra turns into a lizard and eats the model. While this episode is now nine years old, parodies from as recently as 2014 continue to live on and, as we argue, perpetuate negative stereotypes of black womanhood, particularly as related to the Sapphire mediated stereotype— loud, bossy, angry black woman. From the various interpretations of the “Tyra Tyrade,” it is clear that those who created the parodies covertly and overtly ventured into maintaining white supremacist stereotypes of black womanhood— where one is supposed to be beautiful, a jezebel, or a mammy, but not a Sapphire. Continuing the marginalizing mediated tradition, in almost every parody, the Tyra character becomes the object of ridicule for being “excessively black” and outside the parameters of her hegemonically prescribed role, because she demonstrated negative emotions resulting in an assertion of her power as the expert.