POPULAR CULTURE AND DIVERSITY
INHOUD
1. Introduction .............................................................................................................................................................. 5
1.1 Why popular culture & diversity? ............................................................................................................................ 5
1.2. What is popular culture? ........................................................................................................................................ 5
1.3. Popular culture and politics? .................................................................................................................................. 6
1.4. How does popular culture relate to identity? Different layers of identity?............................................................ 6
1.5. Framing diversity .................................................................................................................................................... 6
1.6. Intersectionality (kruispuntdenken) ...................................................................................................................... 7
1.6.1. Why intersectionality can’t wait – Crenshaw (2014) ....................................................................................................... 7
1.6.2. Gender activism and emancipation .................................................................................................................................. 7
1.6.4. Intersectionality, so what? ................................................................................................................................................ 8
1.6.5. Core message .................................................................................................................................................................... 8
2. Popular culture .......................................................................................................................................................... 8
2.1. Why study popular culture? ................................................................................................................................... 8
2.2. John Storey: ‘What is popular culture?’ (2012) ...................................................................................................... 8
2.3. Culture.................................................................................................................................................................... 8
2.4. What are the different meanings of 'ideology'?...................................................................................................... 9
2.5. What are the four meanings of 'popular culture' according to Raymond Williams? ........................................... 10
3. Distinction mass – popular – folk culture .................................................................................................................. 11
3.1. Gaming vs Reading = low culture vs high culture? ............................................................................................... 12
3.2. Cultural studies: more positive about popular culture ......................................................................................... 12
3.3. Link class – culture: Pierre Bourdieu..................................................................................................................... 12
3.5. Postmodernism .................................................................................................................................................... 12
3.6. Case study – gay icons in perspective................................................................................................................... 13
3.6.1. How do we approach music? .......................................................................................................................................... 13
3.7. Case: Docusoaps .................................................................................................................................................. 14
4. Cultural studies ........................................................................................................................................................ 15
4.1. Cultural studies – an introduction ........................................................................................................................ 15
4.1.1.Barker & Jane ................................................................................................................................................................... 15
4.1.2. Which elements does Bennett use to define cultural studies?........................................................................................ 15
4.1.3. Stuart Hall on the origins of Cultural Studies ................................................................................................................... 16
4.1.4. Intellectual strands .......................................................................................................................................................... 17
4.2. elaborations ......................................................................................................................................................... 18
, 4.2.1. Central concerns of cultural studies ................................................................................................................................ 18
4.2.2. Questions of methodology ............................................................................................................................................. 18
4.2.3. Problems with CS ............................................................................................................................................................ 19
4.3. Text: Hermes & Teurlings (2021): The Loss of the Popular: Reconstructing Fifty Years of Studying Popular
Culture......................................................................................................................................................................... 19
4.4. Case: In practice? Youtube Vloggers .................................................................................................................... 20
Studying Barbie the movie (2023) .............................................................................................................................. 20
5. The circuit of culture................................................................................................................................................. 20
5.1. Stuart Hall 1980, text : ‘Encoding/decoding’ ........................................................................................................ 20
5.1.1. communication/ media studies ...................................................................................................................................... 21
5.1.2. Discursive form: two moments ....................................................................................................................................... 21
5.1.3. Meaning and reading positions ....................................................................................................................................... 22
5.1.4. Criticism .......................................................................................................................................................................... 22
5.2. Text du Gay & Hall (1997)..................................................................................................................................... 22
5.2.1. The launch of the Sony Walkman (1979) ......................................................................................................................... 22
5.2.2. Du Gay & Hall 1997, ‘Doing cultural studies’ ................................................................................................................... 22
5.2.3.The Circuit of Culture ....................................................................................................................................................... 23
5.2.4. Methodologies? .............................................................................................................................................................. 24
5.3. Case: Punk (1976-77) ............................................................................................................................................ 24
6. Representation ....................................................................................................................................................... 25
6.1. Taylor & Willis ‘Representation’........................................................................................................................... 25
6.1.1. Dyer: The role of stereotypes .......................................................................................................................................... 25
6.1.2. Representation................................................................................................................................................................ 26
6.2. Elaboration representation and stereotypes ....................................................................................................... 26
6.2.1. Representation of women ............................................................................................................................................... 27
6.2.2. Representation of race & ethnicity .................................................................................................................................. 27
6.3. Case study: representation of LGBTQ sexuality.................................................................................................... 28
6.4. Case: reading gay music videos ............................................................................................................................ 28
6.4.1. Based on Dhaenens (2015) .............................................................................................................................................. 28
7. Identity ................................................................................................................................................................... 29
7.1. Guest lecture: Soe Nsuki - How hip hop influences my life… ............................................................................... 29
7.1.1. What is hip hop?.............................................................................................................................................................. 29
7.1.2. Hip hop is a counter culture… why? ................................................................................................................................ 30
7.1.3. Why is it a tool of opression? .......................................................................................................................................... 31
7.1.4. Examples of hip hop in action.......................................................................................................................................... 31
7.1.5. Q&A ................................................................................................................................................................................. 31
7.2. Identity in cultural studies ................................................................................................................................... 32
7.2.1. Barker & Jane (2016): Issues of subjectivity and identity ................................................................................................ 32
, 7.2.2. The fracturing of identity ................................................................................................................................................. 33
7.2.3. Elaboration ...................................................................................................................................................................... 33
7.2.4. Intersectionality .............................................................................................................................................................. 33
7.3. Seiter ‘Qualitative audience research’ (1999) ...................................................................................................... 34
7.3.1. cultural studies (hall, 1980) ............................................................................................................................................. 34
7.3.2. Text seiter (1999) ............................................................................................................................................................ 34
7.3.3. Mass communications vs. Cultural studies ...................................................................................................................... 35
7.4. Elaboration audience research ............................................................................................................................ 36
7.4.1. Critical observations........................................................................................................................................................ 36
7.4.2. Reception research nowadays ....................................................................................................................................... 37
7.4.3. Livingstone, S. (2019) Audiences in an age of datafication ............................................................................................. 37
7.5. Case: queer voices ................................................................................................................................................ 38
7.5.1. Queering music audience research: oral history, the queer archive and LGBTQ identities ............................................. 38
8. Race, ethnicity and cultural identity ......................................................................................................................... 40
8.1. Terminology: race/ethnicity/migration ............................................................................................................... 40
8.2. Concepts of race and ethnicity ............................................................................................................................. 40
8.3. new ethnicities & diaspora ................................................................................................................................... 41
8.4. Elaboration: White (Richard Dyer) ....................................................................................................................... 41
8.5. Text: Media constructions of culture, race, ethnicity (Dixon et al., 2019) .......................................................... 42
8.5.1. Analysing race and ethnicity in mass media ................................................................................................................... 42
8.5.2. conclusions ...................................................................................................................................................................... 43
8.6. Elaboration: Reni Eddo-Lodge .............................................................................................................................. 44
8.7. Hip-hop culture and social change ....................................................................................................................... 44
8.7.1. Solange – A seat at the table (2016) ................................................................................................................................ 45
9. Production ............................................................................................................................................................... 45
9.1. Production: introduction ...................................................................................................................................... 45
9.1.1. Production and industry .................................................................................................................................................. 45
9.2. Croteay & Hoynes (2007) ‘The media industry’ .................................................................................................... 46
9.2.1. Resulting debates ............................................................................................................................................................ 47
9.2.2. Elaboration: political economy vs. cultural studies ......................................................................................................... 47
Guest lecutre Van wichelen: Sexual and gender diversity in youth & children’s media: production views ................... 48
Sexual and gender diversity: what’s in the name? ..................................................................................................... 48
1) Representation ....................................................................................................................................................... 48
Evolution over the years ........................................................................................................................................................... 48
Three phases in lgbtq depiction ................................................................................................................................................ 48
Children and sexual & gender diversity .................................................................................................................................... 49
2) Production .............................................................................................................................................................. 49
Method ..................................................................................................................................................................................... 49
, Why sexual and gender diversity? ............................................................................................................................................ 49
How to include sexual and gender diversity? ........................................................................................................................... 50
How do we improve? ................................................................................................................................................................ 50
3) Reception ................................................................................................................................................................ 51
Conclusion ................................................................................................................................................................... 51
10. Disclosure ............................................................................................................................................................... 51
10.1. Terminology ....................................................................................................................................................... 51
10.1.1. Genderbread person ..................................................................................................................................................... 51
10.1.2. The letters of the alphabet ............................................................................................................................................ 51
10.1.3. Transgender .................................................................................................................................................................. 52
10.1.4. Queer? .......................................................................................................................................................................... 52
10.1.5. Source and inspiration .................................................................................................................................................. 52
10.1.6. Transgender emancipation today? ............................................................................................................................... 53
10.2. Trans representation.......................................................................................................................................... 53
10.2.1. Cultural studies (Hall, 1980) .......................................................................................................................................... 53
10.2.2. Cavalcante 2018, Struggling for the Ordinary ................................................................................................................ 53
10.2.3. Trans representation and the media ............................................................................................................................. 54
10.3. Diclosure (Netflix) .............................................................................................................................................. 54
10.3.1.Production ..................................................................................................................................................................... 54
10.3.2. On representation ......................................................................................................................................................... 54
10.3.3. Stereotypical representations ...................................................................................................................................... 55
10.3.4. Representation and identities ....................................................................................................................................... 55
10.3.5. Ballroom culture ............................................................................................................................................................ 55
10.3.6. Trans-led representations ............................................................................................................................................. 55
11. Guest lecture Scherz: Memes ................................................................................................................................ 55
11.1. Origin of the meme ............................................................................................................................................ 55
11.2. Types of memes ................................................................................................................................................. 56
11.3. Memes function as:............................................................................................................................................ 58
11.4. Conclusion .......................................................................................................................................................... 59
11.4.1. A nex definition? ........................................................................................................................................................... 59
Wrap up ....................................................................................................................................................................... 59
INHOUD
1. Introduction .............................................................................................................................................................. 5
1.1 Why popular culture & diversity? ............................................................................................................................ 5
1.2. What is popular culture? ........................................................................................................................................ 5
1.3. Popular culture and politics? .................................................................................................................................. 6
1.4. How does popular culture relate to identity? Different layers of identity?............................................................ 6
1.5. Framing diversity .................................................................................................................................................... 6
1.6. Intersectionality (kruispuntdenken) ...................................................................................................................... 7
1.6.1. Why intersectionality can’t wait – Crenshaw (2014) ....................................................................................................... 7
1.6.2. Gender activism and emancipation .................................................................................................................................. 7
1.6.4. Intersectionality, so what? ................................................................................................................................................ 8
1.6.5. Core message .................................................................................................................................................................... 8
2. Popular culture .......................................................................................................................................................... 8
2.1. Why study popular culture? ................................................................................................................................... 8
2.2. John Storey: ‘What is popular culture?’ (2012) ...................................................................................................... 8
2.3. Culture.................................................................................................................................................................... 8
2.4. What are the different meanings of 'ideology'?...................................................................................................... 9
2.5. What are the four meanings of 'popular culture' according to Raymond Williams? ........................................... 10
3. Distinction mass – popular – folk culture .................................................................................................................. 11
3.1. Gaming vs Reading = low culture vs high culture? ............................................................................................... 12
3.2. Cultural studies: more positive about popular culture ......................................................................................... 12
3.3. Link class – culture: Pierre Bourdieu..................................................................................................................... 12
3.5. Postmodernism .................................................................................................................................................... 12
3.6. Case study – gay icons in perspective................................................................................................................... 13
3.6.1. How do we approach music? .......................................................................................................................................... 13
3.7. Case: Docusoaps .................................................................................................................................................. 14
4. Cultural studies ........................................................................................................................................................ 15
4.1. Cultural studies – an introduction ........................................................................................................................ 15
4.1.1.Barker & Jane ................................................................................................................................................................... 15
4.1.2. Which elements does Bennett use to define cultural studies?........................................................................................ 15
4.1.3. Stuart Hall on the origins of Cultural Studies ................................................................................................................... 16
4.1.4. Intellectual strands .......................................................................................................................................................... 17
4.2. elaborations ......................................................................................................................................................... 18
, 4.2.1. Central concerns of cultural studies ................................................................................................................................ 18
4.2.2. Questions of methodology ............................................................................................................................................. 18
4.2.3. Problems with CS ............................................................................................................................................................ 19
4.3. Text: Hermes & Teurlings (2021): The Loss of the Popular: Reconstructing Fifty Years of Studying Popular
Culture......................................................................................................................................................................... 19
4.4. Case: In practice? Youtube Vloggers .................................................................................................................... 20
Studying Barbie the movie (2023) .............................................................................................................................. 20
5. The circuit of culture................................................................................................................................................. 20
5.1. Stuart Hall 1980, text : ‘Encoding/decoding’ ........................................................................................................ 20
5.1.1. communication/ media studies ...................................................................................................................................... 21
5.1.2. Discursive form: two moments ....................................................................................................................................... 21
5.1.3. Meaning and reading positions ....................................................................................................................................... 22
5.1.4. Criticism .......................................................................................................................................................................... 22
5.2. Text du Gay & Hall (1997)..................................................................................................................................... 22
5.2.1. The launch of the Sony Walkman (1979) ......................................................................................................................... 22
5.2.2. Du Gay & Hall 1997, ‘Doing cultural studies’ ................................................................................................................... 22
5.2.3.The Circuit of Culture ....................................................................................................................................................... 23
5.2.4. Methodologies? .............................................................................................................................................................. 24
5.3. Case: Punk (1976-77) ............................................................................................................................................ 24
6. Representation ....................................................................................................................................................... 25
6.1. Taylor & Willis ‘Representation’........................................................................................................................... 25
6.1.1. Dyer: The role of stereotypes .......................................................................................................................................... 25
6.1.2. Representation................................................................................................................................................................ 26
6.2. Elaboration representation and stereotypes ....................................................................................................... 26
6.2.1. Representation of women ............................................................................................................................................... 27
6.2.2. Representation of race & ethnicity .................................................................................................................................. 27
6.3. Case study: representation of LGBTQ sexuality.................................................................................................... 28
6.4. Case: reading gay music videos ............................................................................................................................ 28
6.4.1. Based on Dhaenens (2015) .............................................................................................................................................. 28
7. Identity ................................................................................................................................................................... 29
7.1. Guest lecture: Soe Nsuki - How hip hop influences my life… ............................................................................... 29
7.1.1. What is hip hop?.............................................................................................................................................................. 29
7.1.2. Hip hop is a counter culture… why? ................................................................................................................................ 30
7.1.3. Why is it a tool of opression? .......................................................................................................................................... 31
7.1.4. Examples of hip hop in action.......................................................................................................................................... 31
7.1.5. Q&A ................................................................................................................................................................................. 31
7.2. Identity in cultural studies ................................................................................................................................... 32
7.2.1. Barker & Jane (2016): Issues of subjectivity and identity ................................................................................................ 32
, 7.2.2. The fracturing of identity ................................................................................................................................................. 33
7.2.3. Elaboration ...................................................................................................................................................................... 33
7.2.4. Intersectionality .............................................................................................................................................................. 33
7.3. Seiter ‘Qualitative audience research’ (1999) ...................................................................................................... 34
7.3.1. cultural studies (hall, 1980) ............................................................................................................................................. 34
7.3.2. Text seiter (1999) ............................................................................................................................................................ 34
7.3.3. Mass communications vs. Cultural studies ...................................................................................................................... 35
7.4. Elaboration audience research ............................................................................................................................ 36
7.4.1. Critical observations........................................................................................................................................................ 36
7.4.2. Reception research nowadays ....................................................................................................................................... 37
7.4.3. Livingstone, S. (2019) Audiences in an age of datafication ............................................................................................. 37
7.5. Case: queer voices ................................................................................................................................................ 38
7.5.1. Queering music audience research: oral history, the queer archive and LGBTQ identities ............................................. 38
8. Race, ethnicity and cultural identity ......................................................................................................................... 40
8.1. Terminology: race/ethnicity/migration ............................................................................................................... 40
8.2. Concepts of race and ethnicity ............................................................................................................................. 40
8.3. new ethnicities & diaspora ................................................................................................................................... 41
8.4. Elaboration: White (Richard Dyer) ....................................................................................................................... 41
8.5. Text: Media constructions of culture, race, ethnicity (Dixon et al., 2019) .......................................................... 42
8.5.1. Analysing race and ethnicity in mass media ................................................................................................................... 42
8.5.2. conclusions ...................................................................................................................................................................... 43
8.6. Elaboration: Reni Eddo-Lodge .............................................................................................................................. 44
8.7. Hip-hop culture and social change ....................................................................................................................... 44
8.7.1. Solange – A seat at the table (2016) ................................................................................................................................ 45
9. Production ............................................................................................................................................................... 45
9.1. Production: introduction ...................................................................................................................................... 45
9.1.1. Production and industry .................................................................................................................................................. 45
9.2. Croteay & Hoynes (2007) ‘The media industry’ .................................................................................................... 46
9.2.1. Resulting debates ............................................................................................................................................................ 47
9.2.2. Elaboration: political economy vs. cultural studies ......................................................................................................... 47
Guest lecutre Van wichelen: Sexual and gender diversity in youth & children’s media: production views ................... 48
Sexual and gender diversity: what’s in the name? ..................................................................................................... 48
1) Representation ....................................................................................................................................................... 48
Evolution over the years ........................................................................................................................................................... 48
Three phases in lgbtq depiction ................................................................................................................................................ 48
Children and sexual & gender diversity .................................................................................................................................... 49
2) Production .............................................................................................................................................................. 49
Method ..................................................................................................................................................................................... 49
, Why sexual and gender diversity? ............................................................................................................................................ 49
How to include sexual and gender diversity? ........................................................................................................................... 50
How do we improve? ................................................................................................................................................................ 50
3) Reception ................................................................................................................................................................ 51
Conclusion ................................................................................................................................................................... 51
10. Disclosure ............................................................................................................................................................... 51
10.1. Terminology ....................................................................................................................................................... 51
10.1.1. Genderbread person ..................................................................................................................................................... 51
10.1.2. The letters of the alphabet ............................................................................................................................................ 51
10.1.3. Transgender .................................................................................................................................................................. 52
10.1.4. Queer? .......................................................................................................................................................................... 52
10.1.5. Source and inspiration .................................................................................................................................................. 52
10.1.6. Transgender emancipation today? ............................................................................................................................... 53
10.2. Trans representation.......................................................................................................................................... 53
10.2.1. Cultural studies (Hall, 1980) .......................................................................................................................................... 53
10.2.2. Cavalcante 2018, Struggling for the Ordinary ................................................................................................................ 53
10.2.3. Trans representation and the media ............................................................................................................................. 54
10.3. Diclosure (Netflix) .............................................................................................................................................. 54
10.3.1.Production ..................................................................................................................................................................... 54
10.3.2. On representation ......................................................................................................................................................... 54
10.3.3. Stereotypical representations ...................................................................................................................................... 55
10.3.4. Representation and identities ....................................................................................................................................... 55
10.3.5. Ballroom culture ............................................................................................................................................................ 55
10.3.6. Trans-led representations ............................................................................................................................................. 55
11. Guest lecture Scherz: Memes ................................................................................................................................ 55
11.1. Origin of the meme ............................................................................................................................................ 55
11.2. Types of memes ................................................................................................................................................. 56
11.3. Memes function as:............................................................................................................................................ 58
11.4. Conclusion .......................................................................................................................................................... 59
11.4.1. A nex definition? ........................................................................................................................................................... 59
Wrap up ....................................................................................................................................................................... 59
