Being Pretty Does Not Help Your Success":Self-representation and aspiration of China’s female showroom livestreamers

China’s showroom livestreaming is highly gender-segregated, in which young women working as showroom livestreamers are often stigmatized and criticized as hypersexual or vulgar. Situating female streamers’ practices in the sociocultural environment of contemporary China and comparing them to other wanghong creators such as fashion or beauty bloggers in China’s digital economy, we investigate how female streamers construct a particular type of gendered entrepreneurial subjectivity. In this research, we selected 90 short videos that are produced by three female streamers on the social media platform Douyin to examine their self-representations and discursive practices around showroom livestreaming production. In the analysis, we unravel three major interconnected narratives: enduring the behind-the-screen hardship of livestreaming is worthy; navigating heterosexual relationships with viewers is part of showroom livestreaming work; and professional skills and knowhow are provided for those who truly aspire to success. These narratives commonly form a discourse of showroom livestreaming as good work for ordinary working-class or underclass women to achieve social and economic advancement in contemporary China. Moreover, these narratives render young women as autonomous agents with free choices to hustle in the world of showroom livestreaming, normalizing the precarious working conditions as well as gender power imbalances

Contemporary research on gender and media : it’s all political

Recent global social changes and phenomena like #MeToo and Time's Up Movement, the visibility of feminism in popular media (e.g., Beyonce or the TV series Orange is the New Black), the increase of datafication and fake news have not only put pressure on the media and entertainment industry and the content produced, but also generated critique, change and questions in the public debate on gender in general and (the backlash on) gender studies around the world. But are these phenomena also game changers for research on media and gender? In this thematic issue we want to provide insight in recent developments and trends in research on gender and media. What are the dominant ideas and debates in this research field and how do they deal with all of the changes in the media scape (e. g., platformization, the dominance of algorithms and datafication, slacktivism, and gender inequalities in media production). Moreover, how do current debates, theoretical insights and methods communicate with those in the past? The research field has changed rapidly over the last 10 years with repercussions on the conceptualisation of gender, its intersections with other identities markers (e. g., age, ethnicity, class, disabilities, sexualities, etc.), and media audiences' responses to these developments. We welcome contributions within the scope of gender and media and which are topical in the way they introduce new concepts, theoretical insights, new methods or new research subjects

Understanding the hobbit: the cross-national and cross-linguistic reception of a global media product in Belgium, France and the Netherlands

The Hobbit franchise, as many global media products, reaches audiences worldwide. Audience members apparently consume a uniform media product. But do they? The World Hobbit Project offers a new and exciting opportunity to explore differences and similarities, for it provides us with audiences' understandings of the trilogy across languages and nationalities. In this paper we conduct a statistical analysis on differences and similarities in understandings of The Hobbit trilogy between Belgium, the Netherlands, and France – both in what audiences do and do not feel The Hobbit films to be. Analyzing this particular region in Europe provides an extraordinary opportunity, for The World Hobbit project allows us to compare on the language level (the Dutch and French-speaking Belgian regions with respectively the Netherlands and France), as well as on the level of national identities (comparing the three countries amongst each other). In doing so, we are able to further understand what informs geographical and linguistic differences in the consumption of a uniform media product. As such, this paper touches upon cultural hegemony, cross-border flows of fiction, language and cultural proximity

Douyin's playful platform governance:Platform's self-regulation and content creators’ participatory surveillance

To mediate the tensions between state regulation and content-creator incentives, Chinese social media platforms have developed an interesting practice of using platform official accounts to communicate their rules to the creator community. These accounts anthropomorphize platforms, enabling platforms to represent their regulatory bodies using fictional human characters or animated figures. The phenomenon of platform anthropomorphization in the Chinese context stems from a different ontological understanding of platform governance. The first part of this article discusses the logic of platform governance in China, and highlights a different state–platform relationship in comparison to the US and European countries. In the second part, the article turns to focus on Douyin as a case study to further investigate how Chinese social media platforms establish rules and govern content creators. By analysing Douyin's public-facing policy documents and its platform official account, Douyin Safety Centre, we reveal a mechanism of playful governance.</p

There Is More(s) in Television. Studying the relationship between television and moral imagination

In this dissertation the central focus lies with exploration the relationship of television and moral imagination. The underlying aim was to explore how television might be valuable in reaching moral maturity in order to diminish needless suffering in this world. To give form to these aspirations, the main research question that was the starting point of this dissertation was: How do people in the Netherlands use television narratives as a resource to develop a capacity for moral imagination in order to become morally mature? To answer this question, a framework derived from the literary culture was developed. The authors from the literary culture emphasise that the content of the narrative, as well as the reader are of importance for the development of moral imagination. In this study the television narrative was considered as a 'cultural toolbox' that offers moral insights that the active viewer still needs to give meaning to and can use to give meaning to everyday life experiences. Three studies were conducted that each focused on a different aspect of 'how culture works': the content of the toolbox has been researched as well as the audience(s). One of the leading threads running through this dissertation is the Culture vs. culture dichotomy that delivers us with an instrumental perspective on media. Two features of the debate on television were distinguished. The first dimension, primarily found in public debate, dismisses television in general as a popular medium. The second dimension, found in the public as well as in the academic debate, dismisses certain genres, mostly light entertainment