Youth Mediations And Affective Relations

Youth Mediations and Affective Relations explores dynamic and expansive possibilities of young people’s affective lives as they engage with diverse social media in prolific and specific ways. It addresses the situated embodied and emotional experiences of young people as they actively use media in order to forge communities, play imaginatively, protest injustice, experiment with their identities, make media or explore friendships. Furthermore, it explores the relational and contextual dimensions of their everyday interactions. Against static knowledge and moral panics that abstract youth from the complex and changing worlds in which they grapple with digital media, this book hones in on the layered textures of youth experiences to consider how today’s youth think and feel in subtle and unexpected ways.

This book draws together both primary and secondary empirical research and existing literature to examine transgressive subcultural activities and engagement in digital social spaces (DSS). The book addresses four objectives: 1. To understand how young peoples’ subcultures arise online and they are constructed and experienced in DSS 2. To understand how and why DSS matter to young people 3. To understand if any DSS controls exist in these online spaces and 4. To understand how identity locations such as social class, gender and ethnicity and/or their intersections shape young peoples’ engagement and behaviour(s) in DSS. In addressing these objectives with a focus on European contributions, the text provides a holistic understanding of the purpose of digital social spaces in shaping young peoples’ identities and self-perceptions. It will be of interest to postgraduate students, secondary school teachers, lecturers and scholars in education, sociology, youth studies and technology.

‘Young People and Social Media: Contemporary Children’s Digital Culture’ explores the practices, relationships, consequences, benefits, and outcomes of children’s experiences with, on, and through social media by bringing together a vast array of different ideas about childhood, youth, and young people’s lives. These ideas are drawn from scholars working in a variety of disciplines, and rather than just describing the social construction of childhood or an understanding of children’s lives, this collection seeks to encapsulate not only how young people exist on social media but also how their physical lives are impacted by their presence on social media. One of the aims of this volume in exploring youth interaction with social media is to unpack the structuring of digital technologies in terms of how young people access the technology to use it as a means of communication, a platform for identification, and a tool for participation in their larger social world. During longstanding and continued experience in the broad field of youth and digital culture, we have come to realize that not only is the subject matter increasing in importance at an immeasurable rate, but the amount of textbooks and/or edited collections has lagged behind considerably. There is a lack of sources that fully encapsulate the canon of texts for the discipline or the rich diversity and complexity of overlapping subject areas that create the fertile ground for studying young people’s lives and culture. The editors hope that this text will occupy some of that void and act as a catalyst for future interdisciplinary collections. ‘Young People and Social Media: Contemporary Children’s Digital Culture’ will appeal to undergraduate students studying Child and Youth Studies and—given the interdisciplinary nature of the collection— scholars, researchers and students at all levels working in anthropology, psychology, sociology, communication studies, cultural studies, media studies, education, and human rights, among others. Practitioners in these fields will also find this collection of particular interest.

In this timely analysis of the economics of access that surround contemporary female celebrity, Hannah Yelin reveals a culture that requires women to be constantly ‘baring all’ in physical exposure and psychic confessions. As famous women tell their story, in their ‘own words’, constellations of ghostwriters, intermediaries and market forces undermine assertions of authorship and access to the ‘real’ woman behind the public image. Yelin’s account of the presence of the ghostwriter offers a fascinating microcosm of the wider celebrity machine, with insights pertinent to all celebrity mediation. Yelin surveys life-writing genres including fiction, photo-diary, comic-strip, and art anthology, as well as more ‘traditional’ autobiographical forms; covering a wide range of media platforms and celebrity contexts including reality TV, YouTube, pop stardom, and porn/glamour modelling. Despite this diversity, Yelin reveals seemingly inescapable conventions, as well as spaces for resistance. Celebrity Memoir: from Ghostwriting to Gender Politics offers new insights on the curtailment of women’s voices, with ramifications for literary studies of memoir, feminist media studies, celebrity studies, and work on the politics of production in the creative industries.

This anthology uses in-depth interdisciplinary case studies from across the globe to examine the practice and concept of microcelebrity. Taking account of highly contextualized cultural settings and social histories, the chapters present scholarly interpretations of microcelebrity as it has proliferated and diverged in global social media networks.

The term "queer cinema" is often used to name at least three cultural events: 1) an emergent visual culture that boldly identifies as queer; 2) a body of narrative, documentary, and experimental work previously collated under the rubric of homosexual or lesbian, gay, bisexual, and trans (LGBT) cinema; 3) a means of critically reading and evaluating films and other visual media through the lens of sexuality. By this expansive account, queer cinema encompasses more than a century of filmmaking, film criticism, and film reception, and the past twenty-five years have seen the idea of "queer cinema" expand further as a descriptor for a global arts practice. As the first of its kind, The Oxford Handbook of Queer Cinema treats these three currents as art and critical practice, bringing the canon of queer cinema together with a new generation of makers and scholars. The Handbook's contributors include scholars who research the worldwide canon of queer cinema, those who are uniquely positioned to address three decades of its particular importance, and those best positioned to ponder the forms it is taking or may take in our new century, namely digital media that moves in new circuits. In eight sections, they explore the many forms that queer cinema takes across time, discussing narrative, experimental, documentary, and genre filmmaking, including pornography. Likewise, although the study of cinema and media is not restricted to a single method, chapters showcase the unique combination of textual analysis, industrial and production history, interpretation, ethnography, and archival research that this field enables. For example, chapters analyze the ways in which queer cinema both is and is not self-evidently an object for study by examining films that reinforce negative understandings of queerness alongside those that liberate the subject; and by naming the films that are newly queered, while noting that many queerly-made texts await discovery. Finally, chapters necessarily assert that queer cinema is not an Anglophone phenomenon, nor is it restricted to the medium of film.

Based on data from beauty vlogs published by well-known YouTubers, Bhatia explores how they discursively negotiate multiple identities in a creative and participatory space, giving rise to complexities in the definition of categories such as expert, layperson, learner, and teacher in fluid and dynamic digital contexts. In this insightful book, Bhatia sets out to investigate the interdiscursive construction of identity on YouTube. Taking a multi-methodological approach to Critical Discourse Analysis, Bhatia examines beauty vlogs at the levels of sociocognition, language, and genre to provide a better understanding of some of the measures of success and effect as well as new practices of expertise in online communication. The book contributes to a better understanding of how young people work online, often collaboratively, to conform to or resist mainstream notions of expertise, authenticity, race, and beauty, as well as the linguistic and semiotic tools they use to perform their identity, in order to become digital entrepreneurs and cultural influencers. Students and scholars in the field of discourse analysis, situated within the contexts of popular culture and social media, will find this book a valuable read. This volume also enhances the everyday person’s understanding of the complexities of new media communication and a new generation of cultural intermediaries.

Never look at social media the same way again. Social media are an integral part of contemporary society. From news and politics to language and everyday life, they have changed the way we communicate, use information and understand the world. So we have to ask critical questions about social media. We have to dig deeper into issues of ownership, power, class and (in)justice. This book equips you with a critical understanding of the complexities and contradictions at the heart of social media’s relationship with society. The revised and expanded