Views and Reviews
Mediating “Good Death” in End-of-life Documentaries
Paper Presentation in a Themed Session Outi J. Hakola
There has been something of a proliferation of end-of-life documentaries in recent years, including films, television documentaries, special episodes, and documentary series. The growing interest in mediated images of death and dying can be related to the aging population, death awareness movements, and increased demand for hospice care in the Western world. Directors have also recognized wanting to contribute to public discussions on death by giving visibility to dying people. This paper explores documentaries that deal with end-of-life issues, including questions of right to die (assisted suicide), palliative care, and hospice practices with the view that medical care is not enough on its own but that end-of-life care should also look after the psychological, spiritual, and emotional needs of the dying and their families. These documentaries emphasize the debate around “good death,” a common phrase that defies any clear definition. Most often it is used to refer to meaningful and dignified death, where personal choice and autonomy take precedence over medical (or even legal) practices. Most importantly, “good death” is about culturally defined expectations and processes which come into play in the documentaries as well. Each end-of-life documentary redefines the limits and practices of good death, thus highlighting the cultural and social values related to death. In this way, by mediating certain discourses and representations these documentaries participate in public discussions over death and dying. In this paper, by using the practical example of end-of-life documentaries and concept of “good death,” I will take further the discussion about relationship between mediation theories and everyday life. With the help of content analysis, I analyze how these films have selected their approaches to dying, how their narrative elements are organized, what focus the films have, and most importantly, how these choices construct, normalize, and challenge cultural understandings of “good death” through mediated discourses and politics of representation.
Orientalist Stylometry: A Statistical Approach to the Analysis of Orientalist Cinema
Paper Presentation in a Themed Session Philippe D Mather
This study begins by countering the standard critique that Edward Said’s Orientalism (1978) suffers from the same essentialist binarism that he identified in Orientalist discourse. I argue instead that Said’s work is more nuanced than is often implied, while remaining a fairly clear paradigm that allows for a multi-dimensional study of filmic texts, including: 1) Locating patterns within representations of the East; 2) Evaluating degrees of conformance to Orientalist stereotypes; 3) Charting the evolution of orientalist discourse in film, noting both enduring themes as well as new variations such as techno-orientalism. As a case study, I will focus on Euro-American representations of the island-city-state of Singapore, including textual analyses of a sample of narrative fiction films produced between World War II and the present. I intend to use statistical analyses of film style, inspired by the work of Barry Salt and Jeremy Butler. By identifying stylistic and image content parameters such as shot length, shot size, point-of-view editing, the presence/absence of Asian versus Caucasian characters and languages spoken, and correlating this data to Said’s dogmas of orientalism, I hope to uncover information that had previously gone unnoticed, and may lead to new insights regarding orientalist discourse in the cinema.
Explicating Binge-Watching as an Active Behavior of Korean Audiences: Behavior Model Applying the Theory of Planned Behavior
Paper Presentation in a Themed Session Kumhee Jung, Sun Young Choi, Yun Jung Choi
The growth of over the top (OTT) services, including Netflix, led to ‘binge-watching’ as a global phenomenon. Binge-watching, which is defined as a viewing behavior in which two or more identical programs are continuously consumed, is more free and active behavior that the audience can choose the viewing time, the amount of viewing, and playing manipulation. In this study, binge-watching is assumed to be based on the audience's activity. We explore it by applying the theory of planned behavior (TPB). We surveyed Korean users of OTT services and investigated whether TPB’s variables 'attitude', 'perceived behavioral control' and ‘subjective norms’ could affect on frequency, premeditation, and intensity of binge-watching. As an analysis, 'attitude' and 'perceived behavioral control' had a statistically significant positive effect on the frequency of binge-watching and ‘perceived behavioral control’ and ‘subjective norms’ both had a positive effect on premeditation of binge-watching. On the other hand, the intensity of binge-watching showed a different pattern. The 'attitude' and 'perceived behavioral control' had a statistically significant positive effect on the intensity of binge-watching, but ‘subjective norms’ had a negative effect on it. In addition, this study also modeled and verified the static effects of binge-watching on user gratification and persistent intention to use.
Downton Abbey: Powerful Women, Powerless Lives
Paper Presentation in a Themed Session Shweta Kushal
In current times, there has been a surge of English series that are classified as period/historical dramas. Set in a particular time-frame, they showcase the mannerisms and cultural practices of the time that they portray. One such media offering to capture the imagination of the English-speaking/consuming audiences is Downton Abbey. Set in the early 20th Century, primed at the time of the fall of old aristocratic lifestyles and values, this series follows the family of the Earl of Downton to demonstrate the changes in aristocracy. Replete with scandals and glamour, it stands out with its remarkable portrayal of strong-willed female characters that, more often than not, save the day and are the guiding force of the narrative. From the Dowager Countess to the youngest entrant on the scene, Rose, they are all women who challenge the rules of the game that they are set to play, at least on the face of it. This paper argues, however, that this defiance is only perfunctory and that the narrative, in the end, promotes docility, honesty, patience, and steadfastness – demonstrated by the illustrious prize of finding a desired husband from the Peerage as the series finale. It argues that through its many ups and downs, in which the women of Downton Abbey defy the established tenets of society, the series creates a lasting image of rewarding feminine values propagating the construction of the ideal woman in its myriad audience, while paying lip service to the suffragette movement, the game-changer of the time.
