Programme full

Thursday 16 April 2016 15:30 - 17:00
PAPER SESSION 6 / PECHA KUCHA SESSIONS
(vloggers). With more than two million regular subscribers to each of their YouTube channels, along with millions of
casual viewers, they represent a new form of authentic online celebrity. These young men, whose YouTube careers
began as teenagers, do not espouse a traditional form of masculinity; they are not sporty, macho, or even expressly
concerned with being perceived as heterosexual. Instead, they present a softer masculinity, eschewing the
homophobia, misogyny, and aggression attributed to boys of previous generations. These behaviours are theorised
using Eric Anderson's inclusive masculinity theory. Drawing on analysis of 115 video-blogs (vlogs), along with an indepth
interview with Charlie McDonnell, this presentation examines how these young men display inclusive attitudes
and behaviours, including performing in ways traditionally coded as feminine or gay.
Value and Visibility: Constructing a Career as a Contemporary Visual Artist
Fuller, M.
(Technische Universität Berlin)
The process of building a career as a contemporary visual artist is often shrouded in mystery. Part of the reason for
this is that many accounts by journalists as well as social scientists select those artists who have exceptional careers,
rather than understanding the processes by which artists begin to establish their careers. In order to make sense of
the complex modes of career making in contemporary art, I propose that we think about art careers as processes in
which value is attributed to artists and artworks, but that all artists must first attain a level of visibility. Rather than
beginning our analysis with exceptional artists or artists excluded from the realm of galleries, art fairs, biennials and art
criticism, this framework enables us to understand the cultural logic of contemporary art. The everyday activities of
artists in New York and Berlin provide the empirical context for arguing that value and visibility are not universally
shared in the so-called global art world, but are often bound to place.
The Other Side of Black Twitter: Race and Class in Social Media Activism
Schradie, J.
(Institute for Advanced Study in Toulouse)
How do we explain the high rate of social media use among some African-Americans and the low rate among others?
Scholars have begun to debate the meaning of Black Twitter in the United States, particularly for politics. Indeed,
African-Americans who are online are more likely to use social media than their white counterparts. At the same time,
though, many African-Americans are not online at all. What has not been thoroughly examined and theorized,
however, is this relationship between race and class in online spaces. This paper explores the mechanism of this
social media gap and the forces of intersectionality among African-Americans' use of both Twitter and Facebook.
Using a case of political activism, this study uses both in-depth interviews and online content analysis from over 5000
online posts. Findings show that differential, racialized, and classed social networks, power dynamics and political
opportunities shape the extent and type of social media use among African-Americans. This study challenges
previous scholarship that celebrates African-American social media use without examining those who are
marginalized from online spaces. This research also finds the reproduction of inequalities in online spaces, rather than
amelioration of class and race differences.
Why Did They Light a Candle? : A Case Study of ‘Candlelight Vigil Against US Beef Import’ in 2008 in Korea
Ahn, J-E.
(London School of Economics and Political Science)
This paper attempts to explore the dynamics of collective action frames in a new wave of protests through the case of
'Candlelight Vigil against US Beef Import (hereinafter referred to as '2008 candlelight vigil')' in 2008 in Korea.
Interestingly, candlelight vigil, of which an official name is 'Candlelight Cultural Festival' in Korea, was a strategic
product under the structural restriction of 'the Law on Assembly and Demonstration' stating a prohibition of assembly
and demonstration after sunset. In other words, a night assembly could be allowed only by combining two repertoires
of 'candlelight vigil', a symbol of nonviolence and peace, and 'cultural festival' permitted even after sunset. Despite its
origin stemming from the structural constraints, 2008 candlelight vigil showed significant shifts in terms of its
mobilization, organization, framing process and repertoires. In particular, the participants rejecting to be controlled by
one centric organization sought to conduct the meaning of their actions spontaneously, such as 'Food Crisis Frame',
'Democracy Crisis Frame', and 'Publicness Crisis Frame' which critically challenged the status quo. Therefore, this
paper notably addresses following three questions: (1) which frames were shared?, (2) how were these frames
formed, diffused and changed?, and (3) what does it imply particularly in Korea in 2008? I would conclude that 2008
Candlelight Vigil was the condensation of conflicts among various social groups, and furthermore, the active
movement for creating political spaces.
201 BSA Annual Conference 2015
Glasgow Caledonian University