A Look at Media's Impact on Race and Gender

Total Page:16

File Type:pdf, Size:1020Kb

A Look at Media's Impact on Race and Gender Media Today: A Look at Media's Impact on Race and Gender Emmanuel Cuevas Bracamontes California State University East Bay COMM 4500 Gender Identity and Representation June 3, 2014 ABSTRACT: Cultural studies gives us an academic platform in which we can look at today's media and how it affects our perception of gender and race. California's Native American tribes, print advertisements, and examples found in film media help us understand ideas such as critical race theory and gender roles here in our own society. Studying these subcultures and media sources within the United States, we can see how social, print, and film media has affected our perception of social issues, sexual objectification, and racial stereotyping. We find ourselves in an interesting time for media as society becomes aware of its effects on these perceptions. A Look at Media's Impact on Race and Gender 1 BACKGROUND Our world has thousands of different cultures with different practices, traditions, and rituals; Black, white, gamer, athlete, student. These are some of the groups one might associate themselves with. Within these groups, there are subcultures full of their own jargon, practices, and ideologies. They help give people identity and give them a sense of belonging. Humans are a species who thrive from being social. These cultures have managed to thrive under different conditions, but they have one constant; they require a group of people. Cultural studies is “an approach to the study of communications in society that is drawn from a number of sources including Marxism, semiotics, literary and film analysis, psychoanalysis, feminism, and critical race and postcolonial theory” (Dines,2011,624). Simply put, researchers study different aspects of a culture to understand it and the culture's climate. Researchers look to cultural studies to try to answer the questions how and why things came to be as they are. Cultural studies are also used to see how dynamic a culture can be due to change. Things that are commonplace now were normal in the past. From something as common as a car to an idea as ambitious as space flight,these ideas forever changed the way our society functioned. Cultural studies help researchers understand where society was, where it is, and where it is going. There are four areas of research being presented in this paper. The study of California's Native American tribes and how they have approached domestic violence, sexual objectification found in images used in print advertising, reading race today, and hip hop's commodification. Do social and entertainment media predicate the way we approach things such as race and gender and how have they affected the way we view race and gender today? FINDINGS Taking a Gamble, Domestic Violence Among the California's Native American Tribes The Santa Ynez band of Chumash Indians are located north of Santa Barbara, California. The community itself has a very limited media presence. The tribe has their own website dedicated to teaching people about the history and culture of the Chumash people. Navigating through their website, there is no mention of domestic violence as a social issue among the Chumash people. There is a page dedicated to gambling and how it has helped the financial stability of the community. According to the page, the casino employs 1600 employees and brought in enough revenue that the casino has donated $14 million back to the community's schools, public works programs, and road maintenance. Finally, there is a link to the private clinic located within the community. Their main social media pages were on Facebook and Twitter which were posted to infrequently. Their Twitter page had 21 followers on 4/15/2014 and 23 followers as of 5/26/2014. There were a total of seven posts the day the study A Look at Media's Impact on Race and Gender 2 started and one additional tweet posted on the last day of the study bringing the total post count to eight. Their main focus with these tweets were to promote their community Facebook page. The latest post as of 5/26/2014 was on 5/5/2014. Their Facebook page was very similar in terms of activity. The last thing posted was posted in conjuncture with their Twitter post. They had a total of 30 posts, 101 page likes, 19 responses, 4 shares, and 132 cumulative post likes at the beginning of the study. There were a total of 31 posts, 111 page likes, 19 responses, 4 shares, and 137 cumulative post likes at the end of the study. The themes of the posts covered a variety of topics which included local sports events, charity events, donation announcements, and the introduction of their new YouTube channel. Their YouTube channel had 5 total videos posted which were all posted 3/7/2014 with commenting disabled on all of them. The total view count for these videos was 1,732 on the last day of this study. Relative to other more popular YouTube channels which get millions of views, this is not a popular channel. In a very sharp contrast, the Chumash Casino Resort Facebook and Twitter pages were much more active and popular. There were 24 posts made on their Facebook page during the time the study took place. There was a cumulative total 8,733 post likes, 1,219 comments, and 501 shares on the posts made during the time of the study. At the end of the study their Facebook page had 48,260 likes. Compared to their community page, the Chumash Casino had an estimated 345% larger fan base, 110% more commenting, and 99% more sharing occurring on their Facebook page. The Chumash Casino Resort's Twitter had 942 followers and 229 total tweets on the casino page. The themes on the Twitter page reflect very similar themes to those on the Facebook page. The topics range from the twentieth anniversary of the casino, giveaways, concerts, restaurants at the location, random facts about the casino, praising of the staff and a statement withdrawing their sponsorship of the LA Clippers after the Donald Sterling remarks on 4/28/2014. The casino also has a YouTube Channel. There are 6 videos posted with the most recent being dated over a year old. There have been a total of 962 video views for their channel which was surprisingly lower than the Chumash community YouTube channel. Both the community and the casino have Instagram pages which are posted to infrequently if at all. The casino's page would not post for months at a time up until February 2014 where it posted 11 pictures and then averaged 3 images a month through May until the end of the study. The community Instagram has one photo which was taken back in January. The Chumash Indians are not very active in their social media in comparison to their casino which seems to be riddled with activity. A lot of effort and resources seem to be put into promoting the casino and its image. This might be due to its financial influence in the community and surrounding cities. The biggest social issue being tackled by the community was housing and community public works. The casino had resources for people with gambling addiction, addicts, and places A Look at Media's Impact on Race and Gender 3 where victims of gambling addiction could reach out to for help. In conclusion, there is no mention anywhere of domestic violence among the Chumash Band of Indians of Santa Ynez. This is interesting because the biggest social issue being tackled by many Native American tribes is domestic violence. The case could be that there is indeed no domestic violence taking place among this particular group of Native Americans, however, there is a chance it is just not spoken about publicly. The only conclusive thing to be considered here is that it is not a current social media issue for them. A group of researchers compared results and found that the tribes California had very similar traits. Their social media efforts were weak on their community pages, but very strong presence was found on their casino pages. Domestic violence was not a social issue that was being addressed by the tribes of California and was not mentioned. Furthermore, there was much more interest in financial stability and promoting the casino above all other topics found among the tribes. Music Icon or Sex Symbols? Using Caroline Heldman's Sexual Objectification coding questions, a group of researchers analyzed images found using a random Google search. The image chosen and analyzed shows covers of the music magazine, Rolling Stone and hypersexualized images on it covers. There are a total of twelve covers of the magazine represented in this image. Out of the twelve, ten include covers of women. Out of the seven questions Heldman proposes, her fourth question of sexual integrity applies to Janet Jackson's breasts being covered by hands other than her own or some form of clothing which have been replaced by another person's hands while the headline reads “ JANET JACKSON: the joy of sex”. The fourth question asks, “Does the image affirm the idea of violating the bodily integrity of a sexualized person that can't consent?” (Heldman,2014). Jackson's hands are over her head in a submissive position while another person covers her breasts almost as if she is in their control. Another one of the covers has two girls from the show “Gossip Girls” eating an ice cream cone. Question five asks”Does the image suggest that sexual availability is the defining characteristic of the person?” (Heldman,2014), This image is suggesting a sexual innuendo and the ice cream cone could be seen as a stand in for a male phallus.
Recommended publications
  • Sydney Program Guide
    4/23/2021 prtten04.networkten.com.au:7778/pls/DWHPROD/Program_Reports.Dsp_SHAKE_Guide?psStartDate=09-May-21&psEndDate=15-… SYDNEY PROGRAM GUIDE Sunday 09th May 2021 06:00 am Totally Wild CC C Get inspired by all-access stories from the wild side of life! 06:30 am Top Wing (Rpt) G Rod's Beary Brave Save / Race Through Danger Canyon Rod proves that he is a rooster (and not a chicken) as he finds a cub named Baby Bear lost in the Haunted Cave. A jet-flying bat roars into Danger Canyon to show off his prowess. 07:00 am Blaze And The Monster Machines (Rpt) G Treasure Track Blaze, AJ, and Gabby join Pegwheel the Pirate-Truck for an island treasure hunt! Following their treasure map, the friends search jungle beaches and mountains to find where X marks the spot. 07:30 am Paw Patrol (Rpt) G Pups Save The Runaway Turtles / Pups Save The Shivering Sheep Daring Danny X accidently drives off with turtle eggs that Cap'n Turbot had hoped to photograph while hatching. Farmer Al's sheep-shearing machine malfunctions and all his sheep run away. 07:56 am Shake Takes 08:00 am Paw Patrol (Rpt) G Sea Patrol: Pups Save A Frozen Flounder / Pups Save A Narwhal Cap'n Turbot's boat gets frozen in the Arctic Ice. The pups use the Sea Patroller to help guide a lost narwhal back home. 08:30 am The Loud House (Rpt) G Lincoln Loud: Girl Guru / Come Sale Away For a class assignment Lincoln and Clyde must start a business.
    [Show full text]
  • Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
    Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Unpopular Culture and Explore Its Critical Possibilities and Ramifications from a Large Variety of Perspectives
    15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm 15 mm TELEVISUAL CULTURE TELEVISUAL CULTURE This collection includes eighteen essays that introduce the concept of Lüthe and Pöhlmann (eds) unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey, from Christian rock and country to clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies. Martin Lüthe is an associate professor in North American Cultural Studies at the John F. Kennedy-Institute at Freie Universität Berlin. Unpopular Culture Sascha Pöhlmann is an associate professor in American Literary History at Ludwig-Maximilians-Universität Munich. 240 mm Martin Lüthe and Sascha Pöhlmann (eds) Unpopular Culture ISBN: 978-90-8964-966-9 AUP.nl 9 789089 649669 15 mm Unpopular Culture Televisual Culture The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture.
    [Show full text]
  • South Park: (Des)Construção Iconoclasta Das Celebridades
    PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades São Paulo Agosto de 2012 2 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado São Paulo Agosto de 2012 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado Comissão examinadora: __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ São Paulo Agosto de 2012 4 AGRADECIMENTOS À CAPES, pelo financiamento parcial da pesquisa. Ao Prof. Dr. José Luis Aidar Prado pela paciência e disponibilidade. Aos meus pais, irmãos e amigos, pela compreensão diante de minhas recusas. Aos meus colegas de curso, em especial, André Campos de Carvalho, Cynthia Menezes Mello e Fabíola Corbucci, Pela amizade e inestimável incentivo. Aos professores integrantes das bancas de qualificação e defesa, pelas orientações e disponibilidade. À Celina de Campos Horvat, por todos os motivos descritos acima. Toda piada é uma pequena revolução. (George Orwell) 5 Resumo O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática.
    [Show full text]
  • Instructor's Guide
    DRAWN TO THE GODS Religion and Humor in The Simpsons, South Park, and Family Guy Instructor’s Guide Dives into a new world of religious satire illuminated through the layers of religion and humor that make up the The Simpsons, South Park, and Family Guy. Drawing on the worldviews put forth by three wildly popular animated shows – The Simpsons, South Park, and Family Guy– David Feltmate demonstrates how ideas about religion’s proper place in American society are communicated through comedy. The book includes discussion of a wide range of American religions, including Protestant and Catholic Christianity, Judaism, Islam, Buddhism, Native American Religions, New Religious Movements, “Spirituality,” Hinduism, and Atheism. Along the way, readers are shown that jokes about religion are influential tools for teaching viewers how to interpret and judge religious people and institutions. Feltmate develops a picture of how each show understands 304 pages | Paper | 978-1-4798-9036-1 Religion and communicates what constitutes good religious practice as well as which traditions they seek to exclude on the basis of Contents: race and ethnicity, stupidity, or danger. From Homer Simpson’s • Chapter Summaries with Discussion Questions spiritual journey during a chili-pepper induced hallucination to and Recommended Episodes South Park’s boxing match between Jesus and Satan to Peter • Questions for Reflection Griffin’s worship of the Fonz, each show uses humor to convey • Supplementary Assignments a broader commentary about the role of religion in public life. Through this examination, an understanding of what it means to "Without a doubt, I will use this delightful, well-researched, well-crafted monograph in my media, religion, and popular culture courses.
    [Show full text]
  • Gruda Mpp Me Assis.Pdf
    MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK ASSIS 2011 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Orientador: Prof. Dr. José Sterza Justo Trabalho financiado pela CAPES ASSIS 2011 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – UNESP Gruda, Mateus Pranzetti Paul G885d O discurso politicamente incorreto e do escracho em South Park / Mateus Pranzetti Paul Gruda. Assis, 2011 127 f. : il. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista Orientador: Prof. Dr. José Sterza Justo. 1. Humor, sátira, etc. 2. Desenho animado. 3. Psicologia social. I. Título. CDD 158.2 741.58 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM “SOUTH PARK” Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Data da aprovação: 16/06/2011 COMISSÃO EXAMINADORA Presidente: PROF. DR. JOSÉ STERZA JUSTO – UNESP/Assis Membros: PROF. DR. RAFAEL SIQUEIRA DE GUIMARÃES – UNICENTRO/ Irati PROF. DR. NELSON PEDRO DA SILVA – UNESP/Assis GRUDA, M. P. P. O discurso do humor politicamente incorreto e do escracho em South Park.
    [Show full text]
  • Chiari Ed Onesti Distinguo
    CAP 5 CHIARI ED ONESTI DISTINGUO I GENERI MUSICALI I generi musicali sono categorie entro le quali vengono raggruppate, indipendentemente dalla loro forma, composizioni musicali aventi caratteristiche generali comuni, quali l'organico strumentale, il destinatario e il contesto in cui sono eseguite. Schema riassuntivo della divisione dei generi musicali.[1] Il grado di omogeneità formale e stilistica di tali raggruppamenti è molto variabile e diviene addirittura nullo nel caso di generi con alle spalle una lunga storia, quali la musica sinfonica o l'opera lirica. La loro identità si fonda piuttosto sul contesto sociale e ambientale a cui le composizioni sono destinate (il teatro, la sala da concerto, la discoteca, la strada, la sala da ballo, la chiesa, il salotto) e sulle diverse modalità con cui la musica si coniuga di volta in volta ad altre forme di spettacolo, arte o letteratura, quali il teatro, l'immagine, la poesia, il racconto. Una distinzione di base comunemente riconosciuta è quindi quella fra Musica folclorica, Musica popolare e Musica colta, visti come tre termini generici o macro-categorie che assieme racchiudono tutti i generi musicali, formando ciò che Philip Tagg definì come "triangolo assiomatico"[2][1] A conferma dello stretto legame che intercorre tra genere musicale, recezione e fruizione, negli ultimi decenni l'industria discografica ha spesso preferito, per ragioni commerciali, inquadrare gli interpreti entro singoli generi. Segue un elenco molto sommario: 1. Musica colta 18. Dramma giocoso (Italia) 2. Musica classica 19. Tragédie lyrique (Francia) 3. Musica sacra 20. Comédie lyrique (Francia) 4. Canto gregoriano 21. Opéra-comique (Francia) 5. Musica corale 22.
    [Show full text]
  • Volume 50 • Number 4 • July 2009
    VOLUME 50 • NUMBER 2009 4 • JULY Feedback [ [FEEDBACK ARTICLE ] ] July 2009 (Vol. 50, No. 4) Feedback is an electronic journal scheduled for posting six times a year at www.beaweb.org by the Broadcast Education Association. As an electronic journal, Feedback publishes (1) articles or essays— especially those of pedagogical value—on any aspect of electronic media: (2) responsive essays—especially industry analysis and those reacting to issues and concerns raised by previous Feedback articles and essays; (3) scholarly papers: (4) reviews of books, video, audio, film and web resources and other instructional materials; and (5) official announcements of the BEA and news from BEA Districts and Interest Divisions. Feedback is editor-reviewed journal. All communication regarding business, membership questions, information about past issues of Feedback and changes of address should be sent to the Executive Director, 1771 N. Street NW, Washington D.C. 20036. SUBMISSION GUIDELINES 1. Submit an electronic version of the complete manuscript with references and charts in Microsoft Word along with graphs, audio/video and other graphic attachments to the editor. Retain a hard copy for refer- ence. 2. Please double-space the manuscript. Use the 5th edition of the American Psychological Association (APA) style manual. 3. Articles are limited to 3,000 words or less, and essays to 1,500 words or less. 4. All authors must provide the following information: name, employer, professional rank and/or title, complete mailing address, telephone and fax numbers, email address, and whether the writing has been presented at a prior venue. 5. If editorial suggestions are made and the author(s) agree to the changes, such changes should be submitted by email as a Microsoft Word document to the editor.
    [Show full text]
  • Going Down to South Park: Reporting the News on Television’S Most Politically and Socially Irreverent Animated Series
    Going Down to South Park: Reporting the News on Television’s Most Politically and Socially Irreverent Animated Series By Todd Smilovitz Abstract The image of the journalist on South Park is not one to be proud of. Journalists appear on more than half of the episodes in the show’s first nine seasons, but they are mostly purveyors of news that is opinionated, baseless, soft, sentimental, naïve, late-breaking and/or sensationalistic. Behind all of this shallow reporting is a quest by news media for ratings: the profit motive distorts news. The fact that almost all South Park journalism is broadcast news, which naturally tends to focus on sound bites rather than in-depth analysis, only enhances this effect. Whether the image of the journalist on South Park is a reflection of the modern American media, or vice versa, is left unsettled and to the eye of the beholder. * * * “A Sexy Action News Team Special Report: ‘Cough Medicine Abuse in School’ with the Sexy Action School News Team. It’s the report you can’t afford to miss.”1 -- Announcer setting up the boys’ final attempt to grab high ratings for their elementary school news show While this Sexy Action News Team special report could actually be seen as investigative journalism, it only comes about after more sensationalistic methods for becoming the number Going Down to South Park By Todd Smilovitz 2 one South Park Elementary School news show fail. In other words, the serious, investigative content of the show is only incidental to the profit motive. Live, late-breaking special reports by eyewitness news teams are the real king of South Park journalism.
    [Show full text]
  • 1 United States District Court for The
    UNITED STATES DISTRICT COURT FOR THE SOUTHERN DISTRICT OF NEW YORK ________________________________________ ) VIACOM INTERNATIONAL INC., ) COMEDY PARTNERS, ) COUNTRY MUSIC TELEVISION, INC., ) PARAMOUNT PICTURES ) Case No. 1:07-CV-02103-LLS CORPORATION, ) (Related Case No. 1:07-CV-03582-LLS) and BLACK ENTERTAINMENT ) TELEVISION LLC, ) DECLARATION OF WARREN ) SOLOW IN SUPPORT OF Plaintiffs, ) PLAINTIFFS’ MOTION FOR v. ) PARTIAL SUMMARY JUDGMENT ) YOUTUBE, INC., YOUTUBE, LLC, and ) GOOGLE INC., ) Defendants. ) ________________________________________ ) I, WARREN SOLOW, declare as follows: 1. I am the Vice President of Information and Knowledge Management at Viacom Inc. I have worked at Viacom Inc. since May 2000, when I was joined the company as Director of Litigation Support. I make this declaration in support of Viacom’s Motion for Partial Summary Judgment on Liability and Inapplicability of the Digital Millennium Copyright Act Safe Harbor Defense. I make this declaration on personal knowledge, except where otherwise noted herein. Ownership of Works in Suit 2. The named plaintiffs (“Viacom”) create and acquire exclusive rights in copyrighted audiovisual works, including motion pictures and television programming. 1 3. Viacom distributes programs and motion pictures through various outlets, including cable and satellite services, movie theaters, home entertainment products (such as DVDs and Blu-Ray discs) and digital platforms. 4. Viacom owns many of the world’s best known entertainment brands, including Paramount Pictures, MTV, BET, VH1, CMT, Nickelodeon, Comedy Central, and SpikeTV. 5. Viacom’s thousands of copyrighted works include the following famous movies: Braveheart, Gladiator, The Godfather, Forrest Gump, Raiders of the Lost Ark, Breakfast at Tiffany’s, Top Gun, Grease, Iron Man, and Star Trek.
    [Show full text]
  • Digital Copyright and Confuzzling Rhetoric
    Texas A&M University School of Law Texas A&M Law Scholarship Faculty Scholarship 7-2011 Digital Copyright and Confuzzling Rhetoric Peter K. Yu [email protected] Follow this and additional works at: https://scholarship.law.tamu.edu/facscholar Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, and the Science and Technology Law Commons Recommended Citation Peter K. Yu, Digital Copyright and Confuzzling Rhetoric, 13 Vand. J. Ent. & Tech. L. 881 (2011). Available at: https://scholarship.law.tamu.edu/facscholar/395 This Article is brought to you for free and open access by Texas A&M Law Scholarship. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Texas A&M Law Scholarship. For more information, please contact [email protected]. Digital Copyright and Confuzzling Rhetoric Peter K Yu* ABSTRACT For more than a decade, policymakers, industry representatives, consumer advocates, civil libertarians, academic commentators, and user communities have advanced a wide array of arguments for or against online file sharing and restrictive copyright standards. This Article begins by introducing two short stories to illustrate the rhetoricaland analytical challenges in the digital copyright debate. It then examines eight unpersuasive arguments advanced by both sides of the debate-four from the industry and four from its opponents. The Article concludes by outlining six different strategies to help the industry develop more convincing proposals for digital copyright reform. TABLE OF CONTENTS I. BLACK OR WHITE-OR JUST GRAY? . 883 A. "If It's Not Yours, Give It Back!".............. ..... 885 B. "Pay for Everything You Own!" ......
    [Show full text]
  • Digital Copyright and Confuzzling Rhetoric
    Vanderbilt Journal of Entertainment & Technology Law Volume 13 Issue 4 Issue 4 - Summer 2011 Article 6 2011 Digital Copyright and Confuzzling Rhetoric Peter K. Yu Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Peter K. Yu, Digital Copyright and Confuzzling Rhetoric, 13 Vanderbilt Journal of Entertainment and Technology Law 881 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol13/iss4/6 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Digital Copyright and Confuzzling Rhetoric Peter K Yu* ABSTRACT For more than a decade, policymakers, industry representatives, consumer advocates, civil libertarians, academic commentators, and user communities have advanced a wide array of arguments for or against online file sharing and restrictive copyright standards. This Article begins by introducing two short stories to illustrate the rhetoricaland analytical challenges in the digital copyright debate. It then examines eight unpersuasive arguments advanced by both sides of the debate-four from the industry and four from its opponents. The Article concludes by outlining six different strategies to help the industry develop more convincing proposals for digital copyright reform. TABLE OF CONTENTS I. BLACK OR WHITE-OR JUST GRAY? . 883 A. "If It's Not Yours, Give It Back!".............. ..... 885 B. "Pay for Everything You Own!" ....... ............. 885 C. Summary: "Aiya!"............................... 886 (0 2011 PeterK.
    [Show full text]