The Role of Social Media in Negotiating Gender Identity among Young Thai Women

This study explored how 18-year-old women in Bangkok used social media to negotiate and express their gender identities online. In Thailand, prevailing cultures and traditional public discourses on hetero-normative sexualities constrain young women’s gender performance both offline and online. The study interrogated processes of adaptation and resistance of traditional mainstream discourses through the consideration of social media as an alternative and flexible space for young women to negotiate and communicate diverse, autonomous gender performances. A gap was identified in terms of the ways in which identity was tactically managed and constructed within different class structures. To investigate these, young women were recruited from three socioeconomic backgrounds: lower class, middle class, and upper class. Data were gathered through interviews, focus groups, and online ethnographies, such as posted pictures, shared contents, and comments on profiles, and interpreted through a multimodal and social semiotic lens to gain deeper understandings of women's classed and gendered social media practices. By examining and cross-referencing qualitative data and the construction of online profiles deriving from different social backgrounds, insights were yielded and a snapshot of the everyday identity work of Thai young women captured as they responded to and resisted traditional forms of feminine conduct

New Opportunities for Interest-Driven Arts Learning in a Digital Age

Traditionally in the United States, schools and after-school programs have played a promi-nent part in teaching young people about the arts. Arts education has been waning in K-12 public schools in recent times, however. This is especially true in low-income communities, where public schools have often cut back on arts instruction so they can devote limited public education dollars to subjects such as writing and math that are the focus of high-stakes standardized tests.When we look outside of school, however, we see a strikingly different landscape, one full of promise for engaging young people in artistic activity. What makes this landscape possible is an eagerness to explore that springs from youths' own creative passions -- what we call "interest-driven arts learning" -- combined with the power of digital technology.This report is a step in trying to understand the new territory. It gives a rundown of scholarship in the areas of arts and out-of-school-hours learning; offers a framework for thinking about interest-driven arts learning in a digital age; examines young people's media consumption; provides a survey of youths' creative endeavors online and elsewhere, along with a look at the proliferation of technologies that young people are using in the arts; and concludes with thoughts about challenges and possibilities for the futur

Manga Vision

Manga Vision examines cultural and communicative aspects of Japanese comics, drawing together scholars from Japan, Australia and Europe working in areas as diverse as cultural studies, linguistics, education, music, art, anthropology, and translation, to explore the influence of manga in Japan and worldwide via translation, OEL manga and fan engagement. This volume includes a mix of theoretical, methodological, empirical and professional practice-based chapters, examining manga from both academic and artistic perspectives. Manga Vision also provides the reader with a multimedia experience, featuring original artwork by Australian manga artist Queenie Chan, cosplay photographs, and an online supplement offering musical compositions inspired by manga, and downloadable manga-related teaching resources

Emotion work via digital visual communication: A comparative study between China and Japan

Through the smartphone, the production and circulation of digital visual media have become as costless and accessible as audio and text-based communication. It would be challenging to be a contemporary ethnographer without engaging with digital practices which in Japan and China at least, tend towards being highly visual. Digital visual communication is recognised in literature as an effective and accessible form of communication, with an increasing number of studies in the field of digital anthropology, media studies and Internet studies exploring the consequences of digital images on social media. There is a pressing need to understand local forms of visual communication in the digital age, where the visual has become an essential part of daily communication. This article deals particularly with the rise of visual digital communication among older adults in China and Japan. Drawing on 16-month ethnographies conducted simultaneously between 2018 and 2019 in China and Japan, this article contributes to the discussion of visual communication in light of this semiotic shift happening online, which is then contextualised within people’s offline lives. The ethnographies in both China and Japan find that, first of all, visual communication via digital media enables more effective and efficient phatic communication and emotion work. In addition, the ethnographies point to a question about ‘authenticity’ in interpersonal communication. The ethnographies show that in some cases, the deployment of visual communication via the smartphone is not so much about being able to express ‘authentic’ personal feelings but rather, in being able to effectively establish a digital public façade according to social norms

Inequality in digital personas - e-portfolio curricula, cultural repertoires and social media

Digital and electronic learning portfolios (e-portfolios) are playing a growing role in supporting admission to tertiary study and employment by visual creatives. Despite the growing importance of digital portfolios, we know very little about how professionals or students use theirs. This thesis contributes to knowledge by describing how South African high school students curated varied e-portfolio styles while developing disciplinary personas as visual artists. The study documents the technological and material inequalities between these students at two schools in Cape Town. By contrast to many celebratory accounts of contemporary new media literacies, it provides cautionary case studies of how young people’s privileged or marginalized circumstances shape their digital portfolios as well. A four-year longitudinal action research project (2009-2013) enabled the recording and analysis of students’ development as visual artists via e-portfolios at an independent (2009-2012) and a government school (2012-2013). Each school represented one of the two types of secondary schooling recognised by the South African government. All student e-portfolios were analysed along with producers’ dissimilar contexts. Teachers often promoted highbrow cultural norms entrenched by white, English medium schooling. The predominance of such norms could disadvantage socially marginalized youths and those developing repertoires in creative industry, crafts or fan art. Furthermore, major technological inequalities caused further exclusion. Differences in connectivity and infrastructure between the two research sites and individuals’ home environments were apparent. While the project supported the development of new literacies, the intervention nonetheless inadvertently reproduced the symbolic advantages of privileged youths. Important distinctions existed between participants’ use of media technologies. Resourceintensive communications proved gatekeepers to under-resourced students and stopped them fully articulating their abilities in their e-portfolios. Non-connected students had the most limited exposure to developing a digital hexis while remediating artworks, presenting personas and benefiting from online affinity spaces. By contrast, well-connected students created comprehensive showcases curating links to their productions in varied affinity groups. Male teens from affluent homes were better positioned to negotiate their classroom identities, as well as their entrepreneurial and other personas. Cultural capital acquired in their homes, such as media production skills, needed to resonate with the broader ethos of the school in its class and cultural dimensions. By contrast, certain creative industry, fan art and craft productions seemed precluded by assimilationist assumptions. At the same time, young women grappled with the risks and benefits of online visibility. An important side effect of validating media produced outside school is that privileged teens may amplify their symbolic advantages by easily adding distinctive personas. Under-resourced students must contend with the dual challenges of media ecologies as gatekeepers and an exclusionary cultural environment. Black teens from working class homes were faced with many hidden infrastructural and cultural challenges that contributed to their individual achievements falling short of similarly motivated peers. Equitable digital portfolio education must address both infrastructural inequality and decolonisation

Manga Vision

Manga Vision examines cultural and communicative aspects of Japanese comics, drawing together scholars from Japan, Australia and Europe working in areas as diverse as cultural studies, linguistics, education, music, art, anthropology, and translation, to explore the influence of manga in Japan and worldwide via translation, OEL manga and fan engagement. This volume includes a mix of theoretical, methodological, empirical and professional practice-based chapters, examining manga from both academic and artistic perspectives. Manga Vision also provides the reader with a multimedia experience, featuring original artwork by Australian manga artist Queenie Chan, cosplay photographs, and an online supplement offering musical compositions inspired by manga, and downloadable manga-related teaching resources

The occidental otaku: Portuguese audience motivations for viewing anime

Japanese animation, widely known as anime, has a global reach. It is simultaneously broadcasted by traditional media and easily distributed and discussed among fans in the digital and online realms. However, non-Japanese audiences’ motivations for watching this kind of content remain almost unstudied in some countries, with Portugal being one of them. This article presents and discusses the outcomes of an online survey completed by 568 respondents, most of them young and regular watchers of anime. A scale by Rubin and Perse (1987), originally used in regard to the audiences of soap operas, was adapted in the scope of this article. Five main motivations were found for anime viewing, with entertainment being the strongest. Age and gender are relevant predictors for the sample’s motivations and also influence audience preferences regarding genres. The survey’s outcomes are complemented by nine in-depth interviews conducted during an anime convention, further exploring the motivations derived from the survey

Young adults reflect on the experience of reading comics in contemporary society: Overcoming the commonplace and recognizing complexity

The purpose of this study was to explore and understand the role of comics as reading material for young people, emphasizing the experience of the readers themselves. The central research problem is concerned with how comics readers construct and understand their reading experience of comics as a reading material and what this says about reader identities and social contexts of reading comics. The focus on readers shifts the perspective from previous research that looked mainly at comics fans and comics as cultural products. Working in the tradition of qualitative inquiry, I adopted an approach informed by hermeneutical phenomenology because it supported the exploration of the significant and unique experiences of these readers, offering “plausible insights” that made immediate the richness and multifaceted nature of the reading experience. The primary methods of data collection were semi-structured interviews and a think-aloud protocol. The sample included seventeen participants, from sixteen to twenty-five years of age, nine female and eight male, who also represented different reading experiences: beginning readers, occasional but committed readers, and expert readers. I recruited participants and collected data in three different sites: public libraries, comics stores and at a university with a large undergraduate population. Four dimensions of the reading experience emerged from the interview data: 1) the construction of the reader-self; 2) the significant role of the materiality of comics; 3) the institutional contexts of comics reading and; 4) the unique temporal aspects of comics reading in contemporary society. With these dimensions in mind, I emphasize the situated nature of the reading experience that requires the researcher to explore both how the experience is shaped but also shapes the reader-self and how it is embedded in an influential social context. I anticipate that this work will support a change in the way comic readers are conceptualized in Library and Information Science literature and practice. The knowledge emerging from my participants’ experiences and understandings significantly enhances and seriously challenges commonplace understandings of the reading practices of a historically neglected group of readers

Graphic novels: enticing teenagers into the library

This thesis investigates the inclusion of graphic novels in library collections and whether the format encourages teenagers to use libraries and read in their free time. Graphic novels are bound paperback or hardcover works in comic-book form and cover the full range of fiction genres, manga (Japanese comics), and also nonfiction. Teenagers are believed to read less in their free time than their younger counterparts. The importance of recreational reading necessitates methods to encourage teenagers to enjoy reading and undertake the pastime. Graphic novels have been discussed as a popular format among teenagers. As with reading, library use among teenagers declines as they age from childhood. The combination of graphic novel collections in school and public libraries may be a solution to both these dilemmas.Teenagers’ views were explored through focus groups to determine their attitudes toward reading, libraries and their use of libraries; their opinions on reading for school, including reading for English classes and gathering information for school assignments; and their liking for different reading materials, including graphic novels. Opinions on school reading can impact feelings on reading in general and thus influence views and amount of recreational reading.A survey of public libraries determined the incidence of graphic novel collections throughout Australia and how collections are managed, with the intention of comparing libraries from different states and territories and metropolitan or rural areas. Interviews with selected librarians who collected graphic novels provided insight into their attitudes to the place of graphic novels in public and high school libraries and a more detailed picture of how the format is managed. This included use of graphic novel by the libraries’ teenage users or students and problems encountered, such as complaints about specific titles.Graphic novel collections are widespread among surveyed Australian libraries, although a metropolitan location led to a greater likelihood of collection of graphic novels, and librarians were passionate about the format and its popularity among teenagers. The teenagers investigated were not as universally positive about graphic novels or libraries. The necessity of inclusion of all formats of reading matter in library collections will enable teenagers to discover for themselves what provides enjoyable reading experiences, so these become the norm, and lead to a greater enthusiasm for reading and more undertaken in their free time