Rayya El Zein
CARGC Paper 8, “Vamping the Archive: Approaching Aesthetics in Global Media,” by CARGC Postdoctoral Fellow, Rayya El Zein, is based on El Zein’s CARGC Colloquium and draws its inspiration from Metro al-Madina's Hishik Bishik Show in Beirut. CARGC Paper 8 weaves assessments of local and regional contexts, aesthetic and performance theory, thick description, participant observation, and interview to develop an approach to aesthetics in cultural production from the vantage of global media studies that she calls “vamping the archive.”
CARGC Paper 7 begins with the provocative question, “What Does It Mean to Be Rural?” In answering this question and taking up the difficult task to “theorize the rural,” former CARGC fellow Christopher Ali drew on critical scholarship in media and communication studies, political economy, critical geography, phenomenology, and mobility studies to point the way forward for a critical theory of rural communication. He argues that understanding the rural is essential to understanding the dynamics of our globalized and networked world.
Drawn from Morales-Suárez’s Penn Honors Thesis about the evolution of the Cuban media landscape, and developed during her CARGC Undergraduate Fellowship, CARGC Paper 6 presented findings from an empirical study of Cuban journalists, their decision-making practices, the motivations that drive them, the challenges they face, and the opportunities they crave. Morales-Suárez conducted in-depth, semi-structured interviews with a group of independent Cuban journalists recruited from twenty non-governmental publications during the spring of 2017.
This CARGC Paper drew on Sheller’s Distinguished Lecture and presented a project in collaboration with Chinese artist Ai Weiwei and French curator Guillaume Logé. For many refugees, smartphones have become their most valuable asset. While theories of migration have long spoken of the “double absence” of migrants (both from their country of origin and from their host country), Sheller identified that certain researchers now allude to the “double presence” made possible by ICT. This paper explored the increasingly intrinsic overlap between physical and virtual mobility.
CARGC Paper 4 reprinted Appadurai’s October 2015 Distinguished Lecture at PARGC. In it, he warned against the dangers of “knowledge-based imperialism and scholarly apartheid” and offered possible ways to avoid them. Appadurai identified a growing rift between media studies and communication studies, with scholars concerned with institutions, power, resources, and large-scale data on one side, and scholars concerned with interpretation, texts, languages, and images on the other. Yet, despite the history of this divide, in CARGC Paper 4, Appadurai outlined what we can do to close the growing distance between media and communication studies.
CARGC Paper 3 grew out of Repnikova’s 2014 Postdoctoral Fellow Colloquium. In it, Repnikova rebuked a popular projection in comparing media landscapes based on a binary vision of free versus not free and objectivity versus propaganda. The frequent focus of Western media on censorship in authoritarian regimes, Repnikova argued, highlights the gap between media practices in democratic and non-democratic contexts. Challenging these conceptions, CARGC Paper 3 examined a journalism practice generally associated with democratic contexts—investigative reporting—in a regime most renowned for censorship and pervasive propaganda—contemporary China.
Donatella Della Ratta
In CARGC Paper 2, Della Ratta explored how one 2013 Syrian television serial, Wilada min al-Khasira [Birth from the Waist] responded in real time to unfolding events of the Syrian revolution. She argued that the serial offers a living site for scholarly reflection on how cultural production and the power relations that shape it might shift, recombine, and adapt in the context of the three-year-old uprising turned into an armed conflict. Della Ratta mobilized the television serial to explore how the geopolitical relationships between Syrian and Gulf political elites had been dramatically reconfigured.
CARGC Paper 1 drew on Curtin’s then book project, Media Capital, which compares and contrasts cities that have become centers of the global film and television industries, such as Bombay, Lagos, and Miami. In the paper, Curtin explored the implications of Chinese cultural policy within the broader context of media globalization, providing a framework for understanding the logics of media capital and the challenges confronting national governments, making comparisons to Arab, African, and Indian media, and reflecting on the prospects for creativity and diversity in film and television.
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