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Imagining and Building a Nation
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Belonging
Identity
Social practice
Class
Race and Gender
Constructivist approaches
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National
Ethnic
Racial
Contingent cultural creations
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Benedict Anderson
Courtesy of: www.culcom.uio.no/english/news/2005/anderson.html
Courtesy of: http://en.wikipedia.org/wiki/File:CentralAvenueCornell2.jpg
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Imagined Community
NATION
Print publishing
PRINT CAPITALISM
Standardized language
Common print language
Anderson places the conception of ‘nation’ at the emergence of print publishing.
Courtesy of: http://picturelibrary.wordpress.com/2008/05/15/visual-literacy/
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Common print language
The primary catalyst for transforming religious language, dynastic organization, and time
consciousness
willingness to die for their nation, rather than for an abstract ideology
Courtesy of: http://www.heymancenter.org/ImageStorage/Img--00000263.jpg
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How do we imagine a nation?
Nationalism encourages good behaviour...
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http://evolutionengineered.com/wp-content/uploads/2010/02/2010-olympic-gold-women.jpg
http://nform.ca/blog/2010/03/olympics-2010-and-user-experie-1
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Imagined Communitie
s…
the work has been strongly criticized
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http://umanitoba.academia.edu/RadhikaDesai
Radhika Desai,
Professor of Political Studies at the University of Manitoba
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Neo-liberalism and its derivatives
smoothed the path away
from the rich traditions of theorizing politics,
political economy and history,
not to mention culture
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Enriq Castelló, Researcher at the Public University of Tarragona, Catalonia
Nation-building
Role of fictional
television
Courtesy of: http://en.wikipedia.org/wiki/File:Universitat_Rovira_i_Virgili.jpg
Courtesy of: http://wwwa.urv.cat/noticies/diari_digital/cgi/principal.pl?fitxer=noticies/noticia006965.htm
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Castelló’s Constructivist Model
decentralization of certain state competences, is essential to the current resurgence of western stateless nations.
Castelló sees television as the primary link that people have to society at large
Courtesy of: http://www.tvgasm.com/shows/images/ageoflove/season1/television.gif
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WHICH mechanisms define the nation
WHY fiction, as a text, is especially important
HOW organizational and political power work
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Signifiers of nation to enhance a view of nationhood
http://www.insidesocal.com/tv/Television%207.jpg
Strong localized tradition
To enhance independence
Rather than succumb to American media dominance
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Nation building – 4 main ways
Localization and territory
Language
Cultural representation
Historical references
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National realities
Repetition of narratives and cultural symbolism
in television fiction is a powerful generator of
national realities
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Localization and Territory
In television shows,
territory is
represented
through title
presentations, via
transitional shots
between scenes, in
outdoor scenes,
and in characters.
Courtesy of: http://thefilmjunkiespopcultureblog.blogspot.com/2009/11/canadian-famous.html
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Language issues and uses
Many nations use fictional
television drama as a
way to revitalize national
interest in lesser-used languages
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Cultural Representations and Social Values
Social values
and
community
reaction to
daily struggle
is entrenched
in traditional
social values
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Historical Issues
Traditional historical holidays
incorporated into fictional programming
to give context and placement to characters and settings.
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National Culture
ORDINARY NORMAL
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What makes the national identity banal?
What does ‘Canada’ signify?
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Television fiction is a
cultural product that
is created and
consumed as a routine.
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Can a ‘fiction’ a thousand times
repeated be understood as a
‘fact’?
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Homi Bhabha
nationality as a cultural construct
power relations crucial
Who is legitimated to tell the
nation’s story we have to understand who tells the story, and how the story is told
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Priya Jha, Christopher Gittings, and
Hyangjin Lee
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Jha - Production discourses
Bollywood cinema
“consolidated national
identity”
the contestation
of nationalism and gender.
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Ideological and Representational Dimension
while the narrative appeared to hold place for women
the melodrama of the song space erased women from the social order
Narrative
SpectatorSong
Discover how the CINEMATIC EXCESS of film may direct the spectator to read
films as OPPOSITIONAL cultural practices.
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Gittings – trajectory of the Mountie
Literary
Television
Cinematic narratives
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The MOST commonly recognized signifier for CANADA
Courtesy of: http://thefilmjunkiespopcultureblog.blogspot.com/2009/11/canadian-famous.html
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Lee’s study: Contemporary Korean cinema
Neo-Marxist
Poststructuralist
Postmodern Theories
Address the significance of film as an ideological apparatus
ClassAlthusserNationhoodGramsiGender IssuesFoucault
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National messages are encoded in media
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Power of New Media technology
RECOVERING & RESTORING Language
History
Traditions
POSITIVE BANAL NATIONALISM
National stage
Connections
‘Normalize’ and ‘Standardized’
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Aboriginal People’s Television Network
Established in 1999
To express Aboriginal culture
First Nations standpoint
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New means to communicate and connect with other indigenous groups
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Aboriginal People’s Television Network
APTN MISSION
“To SHARE our
People’s journey,
CELEBRATE our
cultures, INSPIRE
our children and
HONOUR the
wisdom of our
Elders”
ECONOMIC IMPACT
With a 2007 operating budget
of $26.5 MILLION, and a net
income of $9.3 million,
APTN’s ECONOMIC IMPACT
on the Aboriginal production
community and related
Canadian media industry
CANNOT BE UNDERSTATED.
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Storytelling traditions
Aboriginal
concepts of hope,
struggle,
wholeness,
history, healing,
relationships,
family and
traditions
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Celebration of accomplishments
healing
culture
dance
sports
achievement
survival
Unity and diversity amongst Aboriginal
peoples
issues of fellow Indigenous people in
other countries
hopes, dreams and struggles
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Castello’s 4 identifiers of nation building
We look at these
elements in light of
Aboriginal Peoples
Television Network
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Four identifiers of nation building
Localization and Territory
Comedy series which details the life
of a blended family in a Northern Alberta town
Courtesy of: http://www.aptn.ca/series/id,39331760
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Language Issues and Uses the move from
spoken language to print
the role of modern mass media allowsfor many voices, speaking a variety of languages
Voices of the Land explore the diversity and talent of independent Aboriginal documentary producers.
The children’s show, Raven’s Tales is broadcast in four
languages, English, French, Cree and Haida
Courtesy of: http://www.aptn.ca/series/id,15163730
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Cultural Representation & Social Issues
CASHING IN YOUR EYE ON THE YUKON
Your Eye on the Yukon, “provides a window to Yukon First Nation culture and traditional values”
Courtesy of : http://www.aptn.ca/series/id,20720631
Cashing In is a dramatic comedy series about casino life on a fictional Aboriginal reserve in southern Manitoba.
Courtesy of: http://www.aptn.ca/series/id,29199150
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Historical and institutional references
Blackfly is set in a frontier fort in colonial Canada, and
includes a mixed cast of Aboriginal, British, and Scottish
characters. http://www.aptn.ca/series/id,44605217
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Nation building
is a story of representation - an autobiography
as site of contestation where diverse political versions of the nation are debated
WHO is telling the story and HOW
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Nation building
A nation needs its own fiction
That is the end of our story…
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Team 5
Robyn Yaredic
Marie Chatterton
Darcie Davidson
Colleen Boyle
Pam Botterill
Ryan Bartlett
Jean MacGregor
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References
References Anderson, B. (1991). Imagined communities: Reflections on the origin and spread of nationalism. Retrieved from: http://www.nationalismproject.org/what.htm Actors grateful for Mixed Blessings. (2007, November 5). Edmonton Journal. Retrieved from: http://www.canada.com/edmontonjournal/news/culture/story.html?
id=fdf1a350-56fd-487d-aa73-0396ff283f49&p=1 Aboriginal Peoples Television Network. (n.d.). Factsheet. Retrieved from: http://www.aptn.ca/corporate/facts.php Aboriginal Peoples Television Network. (2007). Annual Report. Retrieved from: http://www.aptn.ca/corporate/financial.php Baltruschat, D. (2004). Television and Canada’s Aboriginal communities seeking opportunities through traditional storytelling and digital technologies. Canadian
Journal of Communication, (29) 1. Retrieved from: http://www.cjc-online.ca/index.php/journal/article/view/1403/1495 Barker, (2008). Ethnicity, Race and Nation. In Cultural Studies: Theory and Practice, 3rd ed. Sage Publications: London. Castelló, E. (2009). The nation as a political stage: A theoretical approach to television fiction and national identities. The International Communication Gazette,
(71) 4, pp. 303-320. Castelló, E. (2007). The production of television fiction and nation building. European Journal of Communication, (22) 1, pp. 49-68. Desai, R. (2009, March 16). The inadvertence of Benedict Anderson: Engaging Imagined Communities. Asia-Pacific Journal. Retrieved from:
http://www.japanfocus.org/- Radhika-Desai/3085 Gittings, C. (1998). Imagining Canada: The singing Mountie and other commodifications of nation. Canadian Journal of Communication, (23) 4, pp. 507 – Hamilton, M. (2006). New Imaginings: The legacy of Benedict Anderson and alternative engagements in nationalism. Studies in Ethnicity and Nationalism, (6) 3,
pp. 73- 87. Jha, P. (2003). Lyrical Nationalism: Gender, Friendship, and Excess in the 1970’s Hindi Cinema. The Velvet Light Trap (51), pp. 43-53. Khazaleh, L. (2005). Benedict Anderson: “I like nationalism’s utopian elements”. Cultural Complexity in the New Norway. University of Oslo. Retrieved from:
http://www.culcom.uio.no/english/news/2005/anderson.html Lee, H. (2000). Contemporary Korean cinema: Identity, culture, and politics. Manchester University Press, New York. Roth, L. (2000). Bypassing of borders and building of bridges: Steps in the construction of the Aboriginal Peoples Television Network in Canada. Gazette, (62) 3-4.
pp. 251-269.