The role of memes in the construction of Facebook personae

Abstract

This research is based on the assumption that social media sites – such as Facebook, Twitter and YouTube – have changed the way in which memes (culturally transmitted ideas) are transmitted or spread. It is argued that social media have provided the most fertile environment for the replication of memes to date. The social networking site Facebook is the main social media example used throughout the research. The way in which Facebook is represented in film, as well as the ways in which the offline lives of the characters are affected by their social media profiles, specifically as depicted in the film Catfish (Joost and Schulman 2010) are analysed. Lastly, it is argued that one can construct an entirely new persona, or merely experiment with different aspects of who you are, on social media sites. This online persona can be influenced by the memes one chooses to spread online. Naturally, all memes carry connotations, values and judgements. These memes collate with one's profile and, thus, the connotations attached to the memes one shares are then associated with one's online persona/profile. It is found that although a social networking user tries to portray him/herself in an idealised manner, these memetic connotations give a true impression of his/her offline persona. As a result, there is not much difference between the user's online and offline personae.     

Mass Graves and Imagined Identities in Zimbabwe

ABSTRACT

This article analyses the construction of imagined identities of Zimbabwean nationhood in two televised documentaries, Nyadzonia Massacre and Colonial Era Atrocities, aired on Zimbabwe national television. Using qualitative semiotic analysis and borrowing from post nationalism, this article analyses how the two documentaries interweave memory and violence with the politics of nationhood and belonging during the Third Chimurenga in Zimbabwe. The paper also analyses how the films were packaged in order to undermine the semiotic resistance and autonomy of the viewer to create oppositional readership of the films.     

The overweight female body in Malaysian slimming advertisements: problem and solution

This study analyses image and text to investigate the way slimming advertising exploits women’s fear of being overweight to the extent that they feel obliged to do something about their own bodies. We show how Malaysian slimming advertisements construct certain types of female body which reinforce cultural stereotypes, namely the overweight body that exceeds culturally acceptable limits of desirable body size, and the desirable and attainable slim body with no excess fat. Three sample advertisements were selected from a Malaysian English newspaper and analysed using Jewitt and Oyama’s framework to identify the way images and text are used to give specific meanings relating to the female body. The images were examined in terms of representational, interactional and compositional meanings, and the analysis provides evidence of how the extremely overweight female body is pathologised, making it the focus of critical scrutiny. The advertisements use body images to illustrate the problem of being very overweight and the desirability of being slim, and the consumption of slimming services as a quick and easy solution to the problem.     

A framework for the multimodal analysis of online news galleries: What makes a “good” picture gallery?

The development of digital technology in recent years has led to a revolution in news production and dissemination. In terms of production, we have witnessed a fundamental shift towards visual story-telling. Images dominate the verbal story space and have the potential to become the story themselves. Beyond this, they are also creating unique spaces for themselves (e.g. the online news gallery), with new multimodal genres posing challenges for practitioners and analysts alike. The potential effects of such fundamental shifts on the professional news story-telling practices of the legacy news media provide a rich research opportunity for understanding both how and whether news organisations fulfil their mandate of making sense of the plethora of information that is now available. In this paper, we concern ourselves with one particular innovation in visual news reporting – the online news gallery, or picture gallery in journalism terms. We report on a qualitative analysis of 35 galleries from 12 English-language newspapers with online presence from Europe, North America, Australia and Asia, and interrogate the choices made by institutions in composing this particular type of multimodal “text”, as it is situated in a professional, news story-telling context. In doing so, we explore how a systemic-functional semiotic approach to multimodal news discourse may help us to access the meaning potential of this emerging genre as a vehicle for multimodal digital news reporting, present a framework for the multimodal analysis of online news galleries and consider its implications for the education of media practitioners.     

Exploring the semiotic meaning of the first oil city in the Middle East: Masjed Soleyman

This study aims to provide a perspective on the symbolic characteristics of oil cities by focusing on the example of the first oil city in the Middle East, Masjed Soleyman city. Studies of oil cities are generally based on their industrial characteristics rather than their symbolic meanings. However, since oil became a distinctive symbol in the Middle East, these cities need to be examined from an altered perspective. Therefore, the present study analyses the urban context of Masjed Soleyman city based on four concepts of “city as overall sign”, “image of city”, “language of city” and “interpretation/communication” as well as the derived indicators from each concept. It is concluded that given the critical importance of oil at both the national and international levels, oil production was arguably maintained or sustained by various treatments of this city's inhabitants. In the process of exploring this ancient city, the study portrays that Masjed Soleyman characteristically symbolises control, social segregation and surveillance.     

From DJ talk to music journalism*

Drawing on 5 hours of data from a very popular and one of the longest-running music radio programs, the current study uses a combination of conversation analysis and sound semiotics to study the interconnection among talk, music and sound in DJ talk, an area which is somewhat of a blind spot in radio studies. The analysis demonstrates that the music program is primarily a program that unfolds through a music information “chain” and evolves through a musical narration of historical important moments of the artists or music genres that are being presented. The results illustrate a number of principal features of a music journalism show and highlight the unique DJ style and its role in the completion of the show.     

Brand response analysis: a Peircean semiotic approach

The purpose of this article is to organise and simplify the concept of brand response. It is a development of the authors' semiotic approach to the concept of brand, which uses a triadic model based on the Peircean levels of analysis of the sign. The original model distinguishes three levels: identity, object and response. This article briefly describes the first two levels and goes into more depth with regard to brand response. From the theoretical point of view, the authors' approach inverts the survey method used to ascertain positioning, image and value of the brand. Firstly, brand response is associations occurring in the minds of the reporting agent. Associations create awareness, and not the other way round, which is the concept underlying the current theory of brand equity. From the point of view of practice, it is the authors' belief that the main contribution made by the triadic semiotic model applied to brand response is that of the importance of “firstness”, i.e. the most immediate response possible. It is with a concern for ease of application that this article hopes to contribute by making brand analysis and assessment more intelligible. This article should be seen as an exploration into the possibility of simplifying the analysis of brand response. Its originality lies in the effort to return to the very reason for the existence of branding. The authors are convinced that by choosing differentiation as the guiding principle of their approach they have valorised what is essential, which is sometimes lost in more complex modelling.     

‘Telling our Way of Life': Modes of Mediating Social Life in German and Polish Primary-School Textbooks

The events of 1989-1991 in Central and Eastern Europe brought political and economic changes to the post-Communist societies, which required them to redraw the social and psychological maps of their countries and carried with them the promise of partaking in the 'Western way of life'. The introduction of liberalised ideologies, both at the official level and in most of the freed media, also had to be translated into the countries' education systems. New textbooks that would accommodate the new social and political realities had to be written. We are interested in this article in whether and how these new realities are reflected in primary-school teaching materials. For this paper, our analysis will focus on data from two current textbooks that are used in German and Polish primary schools, respectively. We shall be focusing particularly upon those units of the book aimed at defining or describing realities. Taking into account both linguistic and visual modes of representation, we are interested in revealing the 'way of life', the lived ideologies, constructed in these textbooks.     

Conceptual art and language: introducing a logico-semantic analysis

This article suggests a logico-semantic analysis of Keith Arnatt's Trouser-Word Piece and Victor Burgin's Room, based on Ludwig Wittgenstein's examination of the logical relationship between propositions and the world and M.A.K. Halliday's discussion of social semiotics. It reconsiders the use of language in conceptual art practices from a wider sociological and interdisciplinary perspective, and aims to show how their juxtaposition of different voices within a public context negotiates the space of art as a social space. Focusing on how artworks communicate in context, the following discussion presents the historical as well as the discursive environment in which Arnatt's and Burgin's works are situated and received; moreover, it examines how these works critically manipulate viewing and reading regimes, frameworks of evaluation and patterns of communication in order to create a situation of particular tension between perceptual and conceptual apprehension. In wider terms, this article demonstrates how critically engaged artworks manipulate the conditions of communication by utilizing loan rhetoric (a rhetoric external to the art context) and displace associate meaning in order to challenge the institutionalization of art's production and function. In doing so, they critically stage and contest the power structures that support corresponding hierarchies across producer, audience and mediator, and bring art's social modality into focus. Investigating the manipulation of language in conceptual art, this article proposes a method of analysis that becomes fundamental in studying contemporary multi-modal art production, and in understanding the dialectics of art'But the difficulty is to remove the prejudices communication and critical potential.     

Camera as sign: on the ethics of unconcealment in documentary film and video

When we look at a documentary, what do we see? Probably not the apparatus that gives us images to view. If we did, then perhaps questions about the ethics of documentary cinema would be easily answered. The goal of this article is to broaden the moralistic purview of image ethics debates with a semiotic phenomenology of the visual mode of address of documentary. I describe how “doubling” and “redoubling” the visual mode of address undermines the authority of documentary and helps to overcome debates about two main ethical issues – participant consent and the audience's right to information. Unconcealing the viewpoint of documentary also broadens media ethics debates by bringing attention to the implied viewer, asking of it to reflect on the consequences of the communicative act of looking. Examples of widely available documentary film and video are discussed.