Program IVSA 2014, Program Visual Dialogues in Post-Industrial Societies: Transforming the Gaze 26-27-28th June, Duquesne University, Pittsburgh, PA Thursday, June 26th 9:00 a.m.-10:00 a.m. Session Registration (Bayer Hall Foyer) 10:00 a.m. Conference Opening: Documentary Film (Bayer Hall Auditorium) Cadences (38 min) Alexandra Tillman, France [email protected] Cadences is a 38 minute documentary made in the frame, intention and context of sociological research. It is an example of an emerging field of sociological research in France referred to as Filmic-Sociology, that embraces the production of film in relation to sociological studies. Cadences is situated in Le Havre, a French de-industrialized toWn, and it tells the story of the son of a steel Worker Who has decided not to follow his father's path but rather to embrace the clandestine techno movement called free parties. Alexandra Tilman made this film for her PhD in Filmic-Sociology at Evry University in France under the direction of Professor Joyce Sebag, Which she Will defend in June, 2014. She has studied sociology and cinema since high school, and considers herself on a dual trajectory of film and sociology that has carried her through her Master's and noW to her Ph.D. She has taught cinema and sociology at Evry University for the past six years. She has made tWo earlier films on the free parties movement and the decline of industrial work, and she will continue to produce sociological films that question the relation betWeen Work and leisure in modern societies related to the concept of "freed time" (temps libéré). 10:45 a.m.-12:15 p.m. Concurrent Sessions 1.2.1 Framing Society (Bayer Hall 102) Photoicon: Between Art, Culture and Politics Kamila Zarembska, Jagiellonian University & Pedagogical University in Cracow, Poland [email protected] Every day We broWse through hundreds of photographs in neWspapers or Websites. Some of them go doWn in history and become icons of history – while others do not. An image can constitute a poWerful source of information about society – its values, ideals and social memory. Photoicons are photographs that hold particular and important significance in society. Symbols carried by photoicons are appealing, easy to decode, and therefore habitually interpreted – it is a visualization of common knoWledge. On the one hand they convey meanings and myths as a result of the dominant ideology in society, provide values that are being transferred in culture and represent patriotism, honor, pride, success, resistance – they generate a significantly larger number of meanings than regular photographs. On the other hand, the signification carried by them is so strong that they have the poWer to break aWay from the original meaning, forming a gap, Which creates a field for semiotic guerrilla Warfare. This makes contesting the dominant ideology possible through a remake of the popular symbols and myths carried by photoicons. This Work aims to analyze a subjectively selected set of photoicons in order to deconstruct and identify their hidden significations and indicate the function of the photoicon in society. ‘The Most Dangerous Place’: Race, gender, and the technology of invisibility in media texts Laura Porterfield, University of Wisconsin-Whitewater [email protected] This paper explores the Ways recent (2009-2013) virtual and physical pro-life media render invisible the sociopolitical, institutional, and cultural problems facing black young women as they make decisions about Whether to keep or terminate unWanted pregnancies. These media texts present “confrontational truths” based off of data from the Center for Disease Control’s Abortion Surveillance 2007 report. These truths intentionally mask, distort, or otherWise ignore the very real problems facing young black Women (rape, incest, sexual attack/abuse, poverty, health disparities, etc.). In these texts, the black female body is used as a political tactic exploited to serve larger political and religious agendas and in consequence contributes to the pejorative mediated discourse around how black females are represented. It is important, then, to understand what is masked – what larger issues are made invisible in these texts and in the larger discourses surrounding them– and how. To do this, I Will examine visual texts collected from newspapers and original photography betWeen 2009 until the present using content and discourse analysis, systematically analyzing What is present and not present in the frame in conjunction With other visual and Written texts related to pro-life/abortion/anti-abortion campaigns. This analysis has the potential to contribute to an increased understanding of the micro-methodology of the technology of invisibility, particularly as it relates to racial and gendered representations of young black Women in mass media texts. The Photographic Portrait and the Depiction of Authority in the Context of Politological Analysis: The case of the former GreeK Prime Minister G.A. Papandreou (2009-2011) Nikos Kaplantzis, Greek Political Science Association, Greece [email protected] Murray Edelman has supported that political action has alWays had a form of expressional symbolism; without it, the Republic would not be able to maintain its cohesion. In the mass media democracy, the problems occur When theatrical politic colonize the Political; When the latter is abandoned to mass media system logic. This article discusses the biomorphical modernization that is absolutely harmonized With the “culture of proximity”, the “instrumental rationalization”, the “consumerist individualism” and the “democracy of emotion”, in the case of former Greek Prime Minister G.A. Papandreou. This modernization may even lead politicians to stage incidents so that the mass media can report them. In a nutshell, We analyze a purifying fabrication of an appealing image, in the context of political aestheticization that reinforces illusions, thus perpetuating asymmetrical poWer relations. The photographic portraits of G. A. Papandreou resist to the “portrait legitimacy” of the past; i.e. gradually iconographically converted into un-disciplinary and, more or less, post-modern “emotional” depictions of the “psychological privacy” of the individual. They provoke a rupture With many of the staging techniques that defined, for many years, the official and unofficial portraiture of politicians. As meta-images, these portraits reclaim the psychological notion of “scopophilie” by objectifying the vieW of the spectator; the spectator becomes subject of the vieW, Which objectifies What used to be the vieWed as agent of the action. As “accomplice staged portraits”, they constitute a new order of expression, Which is based upon the technique of invisible photography that marks the passing from the public to the private. A Frame Analysis for the Health Discourse in Mexican Television Tonatiuh Cabrera Franco, Facultad de Ciencias Políticas y Sociales – UNAM, Mexico [email protected] In this study we focuses on the analysis of the health discourse in mexican open television, considering that this medium is the one that offer most selective diffusion and participation ( Thompson , 1993), because their coverage in this country is 92.6 %. We used for this research , two methodological tools , first a media monitoring on the four channels With national coverage in each of its programs counters; and then, taking the product with the most presence advertised We applied a frame analysis on the textual and visual dimension. Among the findings, we found that 55 % of broadcast spots correspond to the regulatory frameWork of the general mexican health laW , With most of these occupied by health products With 21% and food and drinks 22 % . Of all the categories Was Activia, a Dannone yogurt the one Which had a higher number of occurrences, for Which We applied a frame analysis. The results shoW that that the yogurt occupies a very close language use to drugs using medical signs and symptoms to deliver a product that promises to regulate boWel function (related to the third cause of medical consultation in Mexico gastrointestinal disorders ), With this We could see the medicalization of television speech in Mexico that has transcended medicines or cosmetics and has come to food. 1.2.2 Imagery in Ethnography (Bayer Hall 103) It’s Supposed to be Offensive: Images of revolt in Muslim ‘Taqwacore’ punK rocK Amy McDowell, University of Pittsburgh [email protected] This paper shoWs hoW American Muslim ‘TaqWacore’ (taqwa means god consciousness in Arabic) punk rock youth combine Islamic, Islamophobic, and punk rock imagery to start conversations about religious conservatism and racism in U.S. popular culture. For the presentation, I draW on Taqwacore album covers, show flyers, photographs, T-shirt designs, ethnographic observations, qualitative interviews, and videos to illuminate hoW TaqWacores use offensive imagery to make people think about the struggles American Muslim youth face in a white, Protestant Christian dominated society. I argue that Taqwacores do not simply provoke their audiences for the sake of shock. TaqWacore images do important political Work: they fuse seemingly disparate cultural Worlds together. Blocos Afros as Social Change Deinya Phenix, St Francis College [email protected] Proposed is a presentation of observations and analysis of the social structure of “Carnaval” in Salvador, Bahia. Data Were obtained in the course of participant observation of preparations and performance by Cortejo Afro, Projecto