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ID:
142050
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| Summary/Abstract |
In the ‘society of the spectacle’, according to Guy Debord, ‘smug acceptance of what exists can also merge with purely spectacular rebellion’ and dissatisfaction itself becomes a commodity. Drawing on his reflections on celebrity and the spectacle, this article analyses the highly popular blog of novelist and racing car driver Han Han (born 1982). By doing so, it explores the relation between Han Han’s celebrity and his voice as a social critic. The analysis focuses on how Han Han’s blog thrives on the combination of his celebrity status and Everyman image; how it contrasts ‘anti-intellectualism’ in the tradition of Wang Shuo (born 1958) with elements of literati ideology including moderate loyal criticism and cultural nationalism; and how it negotiates the tension between commercial spectacle and the expression of sociopolitical concerns. The article also argues that unlike citizen journalism, Han Han’s blog relies on editorial commentary on hot topics and acts as a ‘safety valve’ blog. This article aims to contribute to understanding the rise in China’s cybersphere of a celebrity who merges the images of rebel, opinion leader and cultural entrepreneur.
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| 2 |
ID:
129002
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| Publication |
2014.
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| Summary/Abstract |
Political satire has had a prominent part to play in the social and political sphere of journalism in Iran since the appearance of an independent press in the country at the beginning of the twentieth century. This paper examines the problems of political satire in the Iranian press during the 2000s with respect to their historical context during the past century. The paper argues that, addressing the essential relationship between satire and criticism, and the primary role that criticism has in the freedom of press, what happened to political satire and satirists in Iran can be seen as an index of the freedom of the press and journalistic expression for an era.
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| 3 |
ID:
113869
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| Publication |
2012.
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| Summary/Abstract |
Global distribution of a popular American television programme - Jon Stewart's Daily Show - offers a rare opportunity to examine transnational contingencies of meaning in political satire. Drawing on focus group discussions in Kenya, this analysis shows how some East Africans appropriated and reinterpreted - indeed unexpectedly subverted - The Daily Show's political content, deriving from it insights that Stewart himself might have found surprising. Kenyan viewers perceived in The Daily Show gaps between the rhetoric and reality of empire and pointed to limitations of Stewart's dissident satire as they rejected its depictions of non-wealthy nations and marginalized peoples. They reconfigured Daily Show episodes as commentaries on global power relations; reflected critically on Kenyan politics, media and their own political subjectivities; and revised their own earlier assumptions about the gap between Africa and supposedly 'mature' democracies such as the United States. Thus, American political satire such as The Daily Show can activate in foreign audiences new perceptions of differences between the 'West' and the rest and new forms of political imagination.
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