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Over the summer of 2011, several interns at BBH Labs (a marketing research firm in New York) came up with The Social Tattoo Project as a way to direct empathy towards natural disasters and social crises that continue to plague populations around the world. They used Twitter to track “trending topics” and then asked the Twitterverse to vote on which issues they wanted to see memorialized in a tattoo, essentially “crowdsourcing” the content of each piece. Volunteers were then selected to receive these tattoo designs without ever having seen them ahead of time. The final five topics included “a cresting wave for Japan, handcuffed hands for human trafficking, a broken heart for Haiti, a pie chart for poverty and a flower flag for Norway” (Corr 2011). The video above is a short clip highlighting the “broken heart for Haiti” design and the woman who had it tattooed onto her body.

However, this project is not the first of it’s kind. For example, Iraqi American artist Wafaa Bilal took it upon himself (quite literally) to commemorate the deaths of Iraqi’s and American’s since the invasion started in 2003. On March 9th, 2010, he had over 100,000 recorded fatalities of the “War on Terror” tattooed on his back during a live, streaming performance at the Elizabeth Foundation for the Arts gallery in New York City titled “…And Counting”: 5,000 dots were tattooed in red ink to represent fallen American soldiers and 100,000 dots were tattooed in invisible ink to represent (largely overlooked) fallen Iraqis. His art project was featured on NPR and DemocracyNow, and became the focal point for discussions about the costs of the “War on Terror.” more...

Manic Pixie Dreamgirls in Hollywood Films

A couple weeks back I posted about Steven Greenstreet’s video titled “The Hot Chicks of Occupy Wall St,” linking it to an emerging media trope called the “Manic Pixie Dreamgirl.” The phrase, coined by Nathan Rabin in his review of the 2005 film Elizabethtown, has quickly become a powerful reminder of the androcentric manner in which female characters are so often constructed in media texts.

I also connected the media trope to an emerging cultural stereotype about progressive young women. I argued that the manic pixie dreamgirl trope is largely a stereotype about young, progressive, non-conformist women who speak out of turn, defy normative conventions in self-presentation and behavior, and largely serve as “inspiration” for (white) male leads to step forward and grab life by the horns, assuming their rightful place as heirs to power. more...

A short psychological thriller titled “Take This Lollipop” has been circulating The Net just in time for Halloween. This video depicts a presumably psychotic man (pictured above) hacking into and becoming irate about, YOUR Facebook page. Not only does the video literally embody fears about digital security, but captures numerous aspects of the web 2.0 culture. The experience is personalized and interactive, as the video incorporates actual content from each viewer’s Facebook page. The experience is augmented, as the viewer’s heavily digital experience (watching an online video, about digital insecurity, incorporating the viewer’s own digital persona) elicits corporeal fear. Finally, the experience is broadcast and re-documented, as people tape themselves watching the video and share their reactions on YouTube (see one after the jump). more...

Crossposted at Sociological Images

I am a huge fan of the television series “It’s Always Sunny in Philadelphia,” but I want to problematize some of the humor we often take for granted in the show. In a recent interview with Conan O’Brien, Charlie Day discusses some of the changes introduced into the current season of the show. Specifically, about 1:30 in, they discuss the weight gain that Rob McElhenney (“Fat Mac”) accomplished in pursuit of a “funnier” character. Notice how Charlie Day and Conan laugh—freely and unapologetically—at the prospect of Mac contracting diabetes (especially Conan’s mocking “Go America!” response to the image of “Fat Mac”): more...

There are currently several debates going around the web about Steven Greenstreet’s “Hot Chicks of Occupy Wall Street” video and tumblr, his rape jokes posted on Facebook, and the rights of women (and men) to claim offense at such behavior. Now I want to contribute something more to the debate than simply rehashing on our rights to privacy in the public realm (both in the digital public space-in the case of Greenstreet’s Facebook comments and in the material public space-in terms of privacy while marching in the streets of #Occupy). I want to talk about the manic pixie dreamgirl.

What does the “hot chicks of occupy” have to do with the manic pixie dreamgirl? And what is the manic pixie dreamgirl trope? I think this short Feminist Frequency video encapsulates the trope quite well, as well as its connection to Greenstreet’s objectification of women at #Occupy. more...

This recent ad for Norton Antivirus software reinforces the concept of lifestyle consumption as articulated by Mike Featherstone (1991) two decades ago. When I saw this commercial, it made me wonder how the trends of lifestyle consumption are fast changing as a result of the increasing digitization of consumer goods. At a time when our very identities seem to be wrapped up in the information we circulate (via Facebook, email, and the various other affordances our digital technology allows), this ad seems to push the concept of lifestyle consumption to a new extreme. And it epitomizes postmodern advertising in that it “educates and flatters at the same time” (Featherstone 1987).

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Although this short documentary  (full transcript here) feels more like a glorified advertisement for the video game “Deus Ex: Human Revolution,” it does raise some interesting issues we deal with regularly on this blog. more...

I shot this video at the University of Maryland’s 2011 Summer Social Webshop and am posting it here with Ezster’s permission.  This presentation is particularly interesting because she describes the arc of her research throughout her career thus far, noting specific topical and methodological shifts.