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Getting “Banksied” Master’s (One Year) Thesis in Media and Communication Studies: Culture, Collaborative Media, and Creative Industries Getting “Banksied” Culture Jamming in Practice Author: Jasmin Salih Supervisor: Temi Odumosu Examiner: Erin Cory Date of Submission: November 4, 2019 Word Count: 15,220 Abstract This paper discusses culture jamming as the countercultural tool of our current mass media society and argues for a more holistic understanding of the concept in order to open up its subversive potential. Part of this holisitic approach involves emphasizing the role of remediation inherent in the concept. Thus, the aim of this paper is twofold: to elaborate the diverse techniques involved in culture jamming (as opposed to the common reductionist approaches to the concept) and, more importantly, to highlight the remediation elements imbedded in culture jamming practices. To accomplish this, the works of street artist Banksy are taken as a case study and analyzed to answer the following questions: In what ways do the works of street artist Banksy subvert or “jam” culture? And how does remediation come into play in these jamming practices? Keywords: Banksy; culture jamming; mediation; remediation; street art; subversive practices. 2 Table of Contents ABSTRACT __________________________________________________________________________________________________________________ 2 LIST OF FIGURES __________________________________________________________________________________________________________ 4 1. INTRODUCTION_____________________________________________________________________________________________________ 5 2. CONTEXTUALIZATION AND LITERATURE REVIEW __________________________________________________________ 6 2.1. COUNTERCULTURE AND CULTURE JAMMING AS ITS LATEST PRACTICE ____________________________________________ 6 2.2. WHY CULTURE JAMMING, WHAT IS IT, AND WHY IS IT RELEVANT NOW? _________________________________________ 8 2.3. PREVIOUS RESEARCH___________________________________________________________________________________________ 15 3. THEORETICAL FRAMEWORK __________________________________________________________________________________ 19 3.1. REMEDIATION__________________________________________________________________________________________________ 19 3.2. CULTURE JAMMING, DEFINED __________________________________________________________________________________ 26 4. METHODOLOGY __________________________________________________________________________________________________ 27 4.1. RESEARCH QUESTIONS _________________________________________________________________________________________ 27 4.2. RESEARCH PARADIGM __________________________________________________________________________________________ 27 4.3. METHOD _______________________________________________________________________________________________________ 27 5. CASE STUDY: BANKSY ___________________________________________________________________________________________ 28 5.1. BANKSY: THE BASICS __________________________________________________________________________________________ 28 5.2. THE SUBVERSIVE SPACES OF BANKSY___________________________________________________________________________ 30 6. DISCUSSION AND CONCLUSION ________________________________________________________________________________ 47 7. LIMITATIONS______________________________________________________________________________________________________ 49 8. ETHICAL CONSIDERATIONS AND DISCLAIMER _____________________________________________________________ 50 9. REFERENCES ______________________________________________________________________________________________________ 51 3 List of Figures Figure 1. Guerilla Girls billboard, The Anatomically Correct Oscar, 2002. Source: https://www.guerrillagirls.com/projects Figure 2. Adbusters issues #145/2019 (left) and #37/2001(right). Source: https://subscribe.adbusters.org/collections/back-issues Figure 3. Banksy’s Designated Graffiti Area. Source: Banksy, Wall and Piece, p. 52 Figure 4. Selected Banksy works that address the (il)legality of graffiti. Source: http://www.banksy.co.uk/out.asp Figure 5. Banksy’s The Joy of Not Being Sold Anything, 2005. Source: http://www.banksy.co.uk/out.asp Figure 6. Banksy’s Crimewatch UK Has Ruined the Countryside for All of Us with caption. Source: Banksy, Wall and Piece, p. 136–137 Figure 7. Banksy at Tate Britain. Source: Banksy, Wall and Piece, p. 139 Figure 8. Prank at the Louvre, Paris, 2004. Source: https://banksyunofficial.com/category/banksy-pranks/ Figure 9. Banksy’s Elephant in a Room, 2006. Source: https://www.banksy.co.uk/in.asp Figure 10. Girl with Balloon framed canvas (left); shredded Love is in the Bin (right). Source: https://www.instagram.com/banksy/?hl=en Figure 11. Banksy’s The street is in play. Source: https://www.instagram.com/p/e7ojjeK-2j/?utm_source=ig_web_copy_link 4 1. Introduction As long as there is culture, there will always be a counter-culture (or a multitude thereof): a form of opposition—with the desire to trigger positive change—that eventually becomes subsumed into mainstream society, making way for newer forms of opposition to newer forms of culture. While subcultures and countercultures are eventually subsumed by mainstream culture, I would argue that certain countercultural subversion methods (rather than subversive cultures or groups) are more durable and capable of instigating change. Today’s culture is heavily mediated, a mass media culture; therefore, any form of activism or attempt at subverting mainstream culture will either rely on or target said mediation. Culture jamming has thus risen as the latest form of rebellion. This paper aims to investigate the diverse techniques involved in culture jamming (taking a holistic rather than a reductionist approach to the concept) and, importantly, emphasize the mediation and remediation elements imbedded in culture jamming practices. In order to do so, the paper contextualizes culture jamming and discusses various understandings of the concept and its current social relevance. It then offers a synthesized definition of the concept, joined by a definition and discussion of remediation as a guiding theoretical concept. Street artist and culture jammer Banksy has been chosen as a case study, and in order so fulfill the aim, the paper asks whether and how culture jamming practices manifest themselves in Banksy’s works (to emphasize the variety of practices jamming encompasses) and what role remediation plays in the works. The paper offers a critical visual analysis of selected examples that represent the diverse practices undertaken by Banksy, categorized based on their mediation spaces to support the emphasis on remediation elements involved in the culture jamming practices and the artworks as such. Culture jamming as a specific unified concept has not sufficiently been addressed in research, and existing studies often reduce the concepts to a few practices that minimize its potential and leave it open to criticism. While remediation is generally addressed in relation to street art, it is not explicitly discussed in relation to culture jamming and its role in aiding countercultural practices is not yet widely or methodologically discussed. These aspects are where this paper hopes to contribute. Further discussions on the relevance of 5 culture jamming as an object of study in the context of media and communication are addressed in the following section. 2. Contextualization and Literature Review 2.1. Counterculture and Culture Jamming as Its Latest Practice While the term counterculture is often used to refer specifically to the youth social movements and subcultures of the 1960s and 1970s in the US and Europe—e.g., the hippie and punk subcultures and the New Left movement—the term can generally be applied to cultures whose values and practices oppose those of the dominant culture (Scott & Marshall, 2009). Arguably, all the subcultures born out of the counterculture of the 1960s have now been absorbed into the mainstream and become highly consumerist (see, e.g., Hebdige, 1979; Boltanski & Chiapello, 2005). Young people now dress up in hippie-style clothing to attend corporate-sponsored festivals like Coachella. DIY culture, the ethic of which is tied to anti-consumerism, is more popular than ever and quite profitable on sites like etsy. After the sexual revolution(s), non-marital sex and casual sex are widely accepted, while pornography and explicit sexual content in film in the media have been normalized. While the struggle continues, society has come a long way when it comes to female and LGBTQ+ sexuality. Nothing is quite as controversial or taboo nowadays, and while counterculture is constantly and will always evolve with the times, most countercultural activities generate short-lived attention or shock before becoming a norm, and it is on to the next big thing. In the age of the internet, subcultures are born and die at an even more accelerated pace (Petridis, 2014). However, while countercultural movements dissipate, their vestiges can be seen in the cultural productions they created or provoked. As evidenced by the countercultures of the past, the rejection of the dominant culture often takes place in the arts (the expression of creativity in the form of literature, visual and decorative arts, music, performance arts, etc.). The values of the counterculture are expressed through art and their representations remain while the culture itself dissolves into the mainstream. 6 In their book Nation of Rebels:
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