Tags: culture, education, science/technology, social mvmts/social change/resistance, cultural lag, material culture, nonmaterial culture, popular culture, social change, symbolic culture, 00 to 05 mins Year: 1993 Length: 3:32 Access: YouTube Summary: In 1993 and 1994, AT&T released a series of commercials depicting a host of cutting edge technologies. In one commercial a man relaxes on a beach holding what appears to be a tablet computer: "Have you ever sent a fax from the beach?" comes the voiceover. "You will." This ad campaign might be useful for instructors seeking to illustrate the distinction between two aspects of any culture: material and nonmaterial. Nonmaterial culture refers to things like values, norms, and social roles, while material culture refers to the physical artifacts of a culture and typically includes the sorts of things people can touch. When a person asserts that hamburgers are a part of American culture, they are really referring to material culture. Tablets and cell phones too are manifestations of material culture. Most of the twenty or so innovative products depicted in AT&T's "You will" ad campaign have long since faded into the vast tableau of consumers' technologically augmented lives, but with the benefit of hindsight, it's possible to draw on the commercials to reflect on how technology has changed the lives of average people. To put it differently, how do changes in material culture give rise to changes in nonmaterial culture? For instance, to the extent that technological advances are driving the growth of massive open online courses (MOOCs), what kinds of changes in the nonmaterial aspects of higher education will likely follow suit? How are the norms, values, and roles usually associated with educational institutions being permanently altered? Finally, while it may seem apparent that technological changes in material culture drive changes in nonmaterial culture, is the reverse ever true? Do changes in norms, values, and roles give rise to changes in technology? Submitted By: Steven Dashiell
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Missy Elliott's "Work It" celebrates black women’s sexuality. Tags: art/music, bodies, gender, intersectionality, race/ethnicity, sex/sexuality, feminism, rap music, 00 to 05 mins Year: 2007 Length: 4:25 Access: YouTube Summary: In this music video, rap artist Missy Elliott fills the void in the discussion of pro-sex black feminism. Historically, black voices have been excluded from the sex-positive feminist revolution. In part, the marginalization of black voices is a product of a colonial past that has stereotyped the black body as always already hypersexual (see Saarjite Baartman). As a result, black academics have taken up a “politics of silence” to resist these stereotypes. A potential site to begin the discussion of a pro-sex black feminist discourse is rap music (Skeggs 1993). The female rappers “talk back, talk black” (hooks 1989) to the colonialist system that attempts to contain the expression of women’s sexuality. In Missy Elliott’s hit song “Work It” (lyrics here), she expresses her own kind of sexuality, effectively creating a dialogue for us to rethink our analyses of black women’s sexuality. How does Missy (re)claim her body as a site of desire and empowerment? How does Missy establish herself as an active sexual subject in the song? Does this challenge patriarchal notions of female sexuality? How does she subvert traditional understandings of the black body? Does Missy challenge conventional (white) beauty standards (i.e. celebration of hips, large butt etc)? How, if at all, does Missy’s music differ from other female artists and, specifically, other popular women rappers? Does Missy create a language for other black women to start understanding and theorizing about their sexual experiences? Can we understand the black female body as separate from representations of Saartje Baartman? How does this enhance our understanding of active black female desire? Do you think that rap music is a legitimate medium to begin theorizing about black sexual scripts? Submitted By: Pat Louie Tags: culture, discourse/language, inequality, knowledge, media, race/ethnicity, colonialism, neocolonialism, postcolonialism, privilege, rule of colonial difference, white savior industrial complex, subtitles/CC, 00 to 05 mins Year: 2012 Length: 3:45 Access: YouTube Summary: The broad claim that certain groups have power over others—that racism, sexism, and classism exist—is hardly controversial. Yet mention privilege and tempers flare. But privilege is simply the other side of the power coin. Just as some racial groups are systematically oppressed and marginalized, other racial groups are systematically privileged, and just as forms of oppression vary, so too do forms of privilege. For instance, a white privilege might simply be living in a world where one can count on being paid more on average than Blacks or Latinos. While pay gaps may be easily quantified, forms of privilege that are less amenable to statistical analysis exist as well. Consider the male privilege of being immersed in a media environment that consistently depicts men as important and powerful. Or consider the white privilege of living in a media environment that assures audiences that white heroes are nearly always capable of transcending adversity. The above clip is from "Africa for Norway" and parodies the narrative typically deployed by Western charity organizations in their campaigns to secure funds and drum up support. It draws attention to a kind of Western privilege, a privilege both forged from and bound up with the experience of colonialism, the application of the rule of colonial difference (i.e., representing the 'other' as inferior and radically different), and Western racism. Whether it is the Kony 2012 campaign or the 1985 song "We Are the World," the story being peddled to publics is of a compassionate West saving the 'other' from unbearable poverty or some other grave injustice. Author Teju Cole famously named this dominant cultural narrative and the practices it calls forth the white savior industrial complex. While the components of the narrative can be spotted in the viral videos of these NGOs, Cole points out that it can also be found in countless Hollywood films, such as Out of Africa and The Constant Gardener. Time and again, moviegoers and YouTubers are asked to consider a rather narrowly defined hero. He's a compassionate white westerner, who stands apart in his uncommon ability to recognize the basic humanity of the many black and brown foreigners he has encountered while on his journey through an unfamiliar land; and against the advice of civilization, he heroically commits himself to the mission of saving these people from their plight. Although the perception that it is a criticism against charity will likely be a point of contention with viewers, the real critique, which is aimed at neocolonialism and the privileges it supports is incisive. It is a peculiar kind of Western privilege to be able to wade through the media pool each day, soaked by the various incarnations of this narrative, a day full of subtle reminders of one's intrinsic goodness and extraordinary abilities. Submitted By: Lester Andrist
Tags: art/music, capitalism, commodification, consumption/consumerism, marketing/brands, marx/marxism, theory, baudrillard, commodity fetishism, exchange-value, labor, lacan, surplus value, signified, signifier, symbols, use-value, 00 to 05 mins
Year: 2011 Length: 5:33 Access: YouTube Summary: Seattle rapper Macklemore's music video for his thought-provoking song “Wings” is an excellent way to introduce students to Marx’s theory of commodity fetishism. Commodity fetishism is the process of ascribing magic “phantom-like” qualities to an object, whereby the human labour required to make that object is lost once the object is associated with a monetary value for exchange. Under capitalism, once the object emerges as a commodity that has been assigned a monetary value for equivalent universal exchange, it is fetishized, meaning that consumers come to believe that the object has intrinsic value in and of itself. The object’s value appears to come from the commodity, rather than the human labor that produced it. In “Wings,” Macklemore associates this process of commodity fetishism with Nike Air Max athletic shoes, explaining his belief as a child that the shoes would make him into a superstar athlete like Michael Jordan. The value of Nike shoes is displaced from the labour time that went into creating them, and instead is infused with an intrinsic value that comes into being through celebrity endorsement or symbols such as the iconic Nike “Swoosh.” “Wings” becomes a statement on how market capitalism seduces us into purchasing products that promise to make our lives better. Macklemore comes to this realization through the song’s narrative, exclaiming, “Nike tricked us all,” before finally realizing as the song comes to an end that “it’s just another pair of shoes.” Through tracks like “Wings,” Macklemore explores the darker side of consumption, urging listeners to critically rethink the messages imposed on us in capitalist societies that make us feel the need to constantly consume. This video can also be used to teach and distinguish among Marx's notions of use-value and exchange-value, as well as his concept of surplus-value, which is the surplus or profit earned by the capitalist, above and beyond the use-value (labour power) required to produce the object. Viewers may be urged to identify the use-, exchange-, and surplus-values of the Nike shoe in the video. How is value made? Why do we pay $180 for a pair of Nike shoes, but only $20 for a pair of Sketcher shoes? In addition, this video bolsters discussion about the power of symbols and signification (and Baudrillard’s notion of sign-value) in creating cultural meaning embodied in a commodity sign (e.g., the Swoosh on the Nike shoe, or the Apple symbol on an iPhone). Instructors can ask students to name other symbols in popular culture and what they mean to them. Drawing upon Jacques Lacan’s idea of the signifier and signified, instructors can expand the discussion of symbols by asking students to discuss the role of brand symbols in their life. Have they become a part of their identity? Their culture? Their daily lives? In the end, Macklemore speaks to this point: his Nikes are “so much more than just a pair of shoes.” They are “what I am… the source of my youth… the dream that they sold to you.” For another post on The Sociological Cinema that uses Macklemore's music videos to teach sociological concepts, click here. Submitted By: Patricia Louie The Internet is an important tool for shaping knowledge about race Tags: knowledge, media, prejudice/discrimination, race/ethnicity, internet, subtitles/CC, 00 to 05 mins Year: 2012 Length: 5:27 Access: Vimeo Summary: This video, created by sociologist Jessie Daniels, explores how race is depicted on the Internet. It begins by arguing that how we think about the Internet is a utopian vision where "this is no race, there are no genders, there is no age ... there are only minds" (quoting from an MCI commercial). But as Daniels notes, "the reality is different. Rather than a 'raceless' utopia in the US today, hate groups are on the rise." The video illustrates quantitative data showing the rise of hate groups, and questions how this might be related to the Internet? Contrary to popular belief, Daniels argues the issue is not with people using the Internet to "recruit" people into hate groups; instead, the issue is how the Internet shapes knowledge and how people perceive realities of race. Everyday people use the Internet to spread racist messages. They create content themselves and share it with friends, normalizing common stereotypes. For example, the video documents "The Funny Racist" on Twitter with over 366,000 followers. She notes that one of the top searches for Martin Luther King, Jr, is a cloaked site that appears legitimate but was created by Storm Front, one of the largest hate groups online. Daniels argues the danger of this new medium is not its capacity to recruit people into hate organizations but through shaping knowledge, such as people's understanding of slavery or civil rights leaders. She argues we need more than "Internet literacy" but also "racial Internet literacy." Viewers may reflect on why Daniels argues that racism is built into the Internet? How does the Internet create new opportunities for promoting racism, and does this reflect the idealist notions we often associate with the Internet and "free information"? Submitted By: Paul Dean Tags: class, economic sociology, inequality, absolute mobility, american dream, income mobility, relative mobility, stratification, 00 to 05 mins Year: 2011 Length: 3:02 Access: Pew Video Summary: Mobility is a difficult concept to both define and conceptualize because people’s movement up and down the socio-economic ladder must be assessed both in relation to a point of origin, and measured across time. This video from the PEW Economic Mobility Project helps us overcome this difficulty by providing visual animations that depict income mobility. It looks at how absolute mobility (when a person earns more money in inflation-adjusted dollars than their parents did at the same age) and relative mobility (a person's rank within the income distribution as a whole) work—while also highlighting how both types of movement relate to American Individualism. It shows that the US is doing well in absolute mobility, but not relative mobility. When explaining relative mobility, the video highlights “stickiness at the ends” by showing how there is a great deal of movement in the middle classes—but the poor and the wealthy at the top and bottom of the social hierarchy tend to experience little if any movement both within, and across generations. Towards the end, the video uses two escalators to outline an especially difficult premise; the possibility that individuals and families can simultaneously experience upward absolute mobility and downward relative mobility. Submitted By: Jason T. Eastman The Jets sing "Gee, Officer Krupke" in West Side Story. Tags: children/youth, crime/law/deviance, juvenile delinquincy, subtitles/CC, 00 to 05 mins Year: 1961 Length: 5:44 Access: YouTube Summary: Why do people break society's laws and norms? In this scene ("Gee, Officer Krupke") from the musical West Side Story, members of a gang (the Jets) are confronted by a police officer who sees them as trouble makers. After he leaves, the men mock various authority figures by sarcastically singing about the causes of their behavior. For example, they sing "all our mothers are junkies ... we're misunderstood ... deep down inside us, there is good ... my parents treat me rough ... they didn't want to have me ... we're psychologically disturbed." Despite their sarcasm, they accurately identify the various reasons that psychologists, judges, social workers, and society more generally gives for explaining crime and deviance, further noting "juvenile delinquency is a social disease." As an intro to teaching a module on Crime & Deviance I regularly introduce the idea that there is more than one point of view of why people offend. I ask students before and after showing the clip to mind map as many reasons as they can think of as to "Why do People Offend?" Viewers may be encouraged to identify the various factors shaping crime and deviance, and how people perceive these factors from different social positions. Going deeper, we can also consider the role of reflexivity in their actions. What does their sarcasm say about these causes and their attempt to understand them? In his essay, “Some Politically Incorrect Reflections on Violence in France and Related Matters,” Slavoj Zizek argues this about violent offenders: "when really pressed for the reasons for his violence, and if capable of minimal theoretical reflection, he will suddenly start to talk like social workers, sociologists and social psychologists, quoting diminished social mobility, rising insecurity, the disintegration of paternal authority, the lack of maternal love in his early childhood… in short, he will provide a more or less precise psycho-sociological account of his acts so dear to enlightened liberals eager to 'understand' the violent youth as a tragic victim of their social and familial conditions." As noted in The Kugelmass Episodes, "the members of the Jets can easily re-frame their own experiences to win the maximum of sympathy from each successive 'handler' ... [but] the Jets aren’t simply making fun of the notion of delinquency. They are genuinely confused about their own actions, and suspect that somebody educated has the answer, but meanwhile there is a fundamental and unresolvable problem: the Jets like their gang, and the people in authority don’t." Submitted By: Stephen Base Julia Roberts acquires cultural capital in Pretty Woman Tags: class, culture, inequality, knowledge, theory, bourdieu, cultural capital, economic capital, social capital, symbolic capital, 00 to 05 mins Year: 1990 Length: 2:46 Access: YouTube Summary: This video clip combines two scenes from the film Pretty Woman (1990). In the first scene, Vivian Ward (Julia Roberts), a working class sex worker, is given dinner etiquette lessons from a newly befriended hotel manager in preparation for a fancy dinner she is attending with Edward Lewis (Richard Gere), a rich business man who has hired Vivian to attend social events with him throughout the week. The second scene depicts Vivian at dinner with Edward and his business affiliates, trying to apply her recently acquired etiquette knowledge. Taken together, these scenes are useful for illustrating various dimensions of sociologist Pierre Bourdieu's understanding of capital. For Bourdieu, capital refers to goods or resources, and he distinguishes between four different types of capital. Economic capital refers to money, property, and other assets. Social capital refers to networks of influence or support based on group membership (such as family), friends, or other contacts. Cultural capital refers to forms of knowledge, educational credentials, and skills. Symbolic capital refers to socially recognized legitimization such as prestige or honor. Bourdieu links these various forms of capital by illustrating how social, cultural, and symbolic capital convert back into economic capital. The film clip from Pretty Woman is useful for discussing and distinguishing among all four types of capital. Vivian's lesson in dinner etiquette, such as knowledge about which fork to use at dinner, illustrates cultural capital. Edward's relationship with his business affiliates illustrates social capital, and his ability to afford an expensive setting for his business meeting (not to mention hiring a person to accompany him all week to social events) illustrates his economic capital. Bourdieu's concept of symbolic capital is more difficult to grasp, and it's closely related to cultural and social capital. However, viewers might consider the ways in which Vivian lacks symbolic capital, as sex work is socially stigmatized and associated with the loss or absence of prestige or honor. Indeed, throughout the film Vivian is frequently looked down upon by others—such as hotel staff, boutique salespeople, and the young businessman depicted in this clip—who suspect she is a sex worker. Consistent with Bourdieu's theory, viewers might consider examples of how social, cultural, and symbolic capital can convert back into economic capital, and therefore maintain class inequality. Submitted By: Valerie Chepp Part of a racist performance at the 2013 Mummer's Parade Tags: prejudice/discrimination, race/ethnicity, cultural appropriation, representation, stereotypes, white privilege, 00 to 05 mins Year: 2013 Length: 2:16 Access: YouTube Summary: This video is from the 2013 Mummer's Parade, a long-standing tradition of people dressing up in elaborate costumes to perform on New Year's Day in Philadelphia. Here, the Venetian New Year's Association enacts a show they call "Indi-Insourcing." It begins with 4 white males dressed as Indians with telephone headsets and unveiling the "New Delhi Call Center," while dancing Gangnam style. Images of the Taj Mahal are in the background. Next, a teepee is brought forward and a group of white men dressed as American Indians emerges on toy horses to take over the Indians and transform the call center into the "New Jersey Call Center" (emphasis added). They are joined by a larger number of other (white) people dressed as American Indians, and perform a group Gangnam dance while the commentators describe their performance theme as "bringing jobs back to America ... a tribe of American Indians emerge with the Tomahawk chop; they charge, surround and take over the call center." Referring to the costumes and performance, the second commentator describes "the posh culture of Gangnam" and that if PSY were here today, "he could really see how fancy we [Philadelphians] could go." Both the performance and the commentators' narration are highly problematic and can be used to expose white privilege, racism, and stereotypical portrayals of the groups mentioned above. Viewers may consider not only how the performers portray the groups through stereotypes, but the irony of American Indians in taking over Indian call centers. After all, it was white Europeans who colonized Native American land and destroyed their way of life, and it is white Americans who claim to have special rights to jobs that are outsourced to places like India. Through images of the "Tomahawk chop" and use of horses to "take over" a call center, the performers appropriate and misrepresent American Indian culture while disregarding the role of whites and their colonial past. Viewers should also consider the significance that the parade organizers allowed this performance, and the commentators had a positive reaction to it. For example, the female commentator refers to the costumes and performance as "fancy" (consistent with the event's descriptive language) while disregarding the underlying racist stereotypes and messages. What does this acceptance of such depictions suggest about American culture and how white privilege operates? Submitted By: Nickie Michaud Wild Lynn Marie Smith of AFT-Michigan at a protest rally Tags: capitalism, class, economic sociology, inequality, organizations/occupations/work, benefits, exploitation, jobs, part-time employment, profit, 00 to 05 mins Length: 1:54 Year: 2010 Access: YouTube Summary: Written and performed by Lynn Marie Smith of the labor union organization AFT Michigan, this catchy song (sung to the tune of Stevie Wonder's "Part-Time Lover") addresses the plight of the part-time worker. Everyone agrees we need more jobs, but is part-time employment the answer? Some people may just need extra money for a short time, or can only work part time due to other responsibilities; for these people, part-time work is a boon. However, for many other workers, part-time jobs are a trap. In fact, a growing employer practice is to require part-time workers to have around-the-clock availability. And if such workers cannot report for duty when called, or are even found to have another job, they may be terminated. One of the biggest financial problems with part-time employment is that such workers not only may make less, but also may not qualify for benefits. And with the new health care provisions that will be enacted under the Patient Protection and Affordable Care Act (i.e., "Obamacare"), there appear to be clear incentives for employers to increasingly transform jobs from full-time to part-time status. Indeed, a recent article by Furchtgott-Roth of the Manhattan Institute suggests that employers could theoretically reduce their cost-per-labor-hour by half should they go to an all part-time workforce in order to minimize mandate penalties. Yet, there is already evidence that shifting to part-time workers may generate backlash. For example, in anticipation of health care insurance changes that became effective January 1, 2013, Darden Restaurants, owner of Olive Garden and Red Lobster, announced in October that it would be moving even more of its 185,000 employees over to part-time status, despite the fact that about 70 percent were already part-time. However, citing adverse public reaction leading to lower sales in test market areas, Darden just announced that it was suspending such efforts for now. Another example is the coordinated strike for better wages and solidarity in New York of fast food workers in November 2012. This clip addressing the plight of the part-time worker can be used to initiate class discussion on how shifting work arrangements in the new service economy create precarious job situations for many American workers. Further, viewers can be encouraged to consider implications of these shifting arrangements for worker benefits and job satifaction. (Note: A version of this post originally appeared on SoUnequal.) Submitted By: Marta Gordon & Michael Miller |
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