Prime‐time politics: News, parody, and fictional credibility in Chile

Ashley, Jennifer

doi:10.1111/amet.12110

Cited by 6 publications

(6 citation statements)

References 33 publications

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“…Jennifer Ashley's (2014) piece provides a description of politics and parody in Chile, while Kristin Doughty (2014) and Rebecca Bryant (2014) each examine the afterlives of conflict, in Rwanda and Cyprus respectively. Similarly, the Journal of the Royal Anthropological Institute's special issue entitled "Doubt, Conflict, Mediation" provides a robust analysis of modern time, making an overarching argument about its connections to capitalism and its roots in Christianity (Bear 2014).…”

Section: Endsmentioning

confidence: 99%

The Ends of Anthropology: 2014 in U.S. Sociocultural Anthropology

Hankins

2015

American Anthropologist

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In this essay, I trace the operations of a moral optimism and a skepticism that lie, uneasily, at the foundation of sociocultural anthropology. As other authors of year-in-review pieces have noted, anthropology is motivated by a moral optimism pointing toward the possibilities of an ethically and politically better life. Equally as fundamental, I argue, is a rigorous skepticism interrogating the shifting conditions that give life to anthropology's possibility. Here, I follow the productive tension between these two stances through the sociocultural anthropology of 2014, loosely grouping that work under the rubrics of "ends," "immediacy," "ecology," and "refusal." Throughout, I make a push for increased attention to our ethic of skepticism as means of tempering the discipline's moral optimism. [optimism, skepticism, immediacy, connection, year in review, sociocultural anthropology] RESUMENEn este ensayo, delineo las operaciones de un optimismo moral y un escepticismo que yacen, incómodamente, en la fundación de la antropología sociocultural. Como otros autores de los artyículos del año en revisión lo han notado, la antropología está motivada por un optimismo moral señalando hacia las posibilidades de una vidaética y políticamente mejor. Igualmente fundamental, argumento, es un escepticismo riguroso interrogando las condiciones cambiantes que dan vida a la posibilidad de la antropología. Aquí, sigo la tensión productiva entre estas dos posiciones a través de la antropología cultural del 2014, agrupando en líneas generales ese trabajo bajo las rúbricas de "fines", "inmediatez", "ecología", y "rechazo". A lo largo, presiono por una atención creciente a nuestraética de escepticismo, como un medio de temperar el optimismo moral de la disciplina. [optimismo, escepticismo, inmediatez, conexión, año en revisión, antropología sociocultural] ON SKEPTICISM AND OPTIMISMIn this essay, I review work in U.S. sociocultural anthropology from 2014. At the same time, I argue for attention to a skepticism that lies at the heart of our discipline, frequently overshadowed by the equally longstanding moral optimism that fuels our discipline's forward tilt. Michel de Montaigne begins his 16th-century essay "On the Cannibals" by questioning the chauvinistic tendency for anyone to call "barbarous anything he is not accustomed to" (1991:231). He argues, in counterpoint, for seeing the barbarism of the "we": "Those 'savages' are only wild in the sense that we call fruits wild when they are produced by Nature in her ordinary course: whereas it is fruit we

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Section: Endsmentioning

confidence: 99%

The Ends of Anthropology: 2014 in U.S. Sociocultural Anthropology

Hankins

2015

American Anthropologist

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“…For the television industry, this meant transformation from a university/ public system into one that was increasingly privatized and sustained primarily by advertising. 4 With the return to democracy, several important changes to television structure occurred. 5 Just before Patricio Aylwin (the president-elect representing the center left political coalition of the Concertación) took office in March 1990, Pinochet opened the university/public television structure to private corporations for the first time, and the CNTV awarded the first concessions to private channels in 1989 (Tironi and Sunkel 1993, 242).…”

Section: The Evolution Of Chilean Televisionmentioning

confidence: 99%

“…Although they might later change the channel or turn off the television, the small increase in viewership that occurred at the beginning of the news helped to raise the overall ratings of the news hour, thus permitting each channel to argue that they had the most viewed newscast and, therefore, the most attractive programming for advertising. Some called this the “umbrella effect” given that the high ratings of one program helped to protect what came before or after (Ashley 2014).…”

Section: The Evolution Of Chilean Televisionmentioning

confidence: 99%

Chilean Television on Shifting Terrain: Movement Toward a Postnetwork Era

Ashley

2018

Television & New Media

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Two events rocked Chilean television in the first half of the 2010s. The first of these was an earthquake in 2010, and the second was the arrival in 2014 of the first Turkish soap opera to the screens of Chilean viewers. In this article, I situate these two events within an historical analysis of Chile’s movement to a postnetwork era. This digital transition has been marked by a much greater transnationalization both in property structure and in the viewing habits of the Chilean public. Although Chile could be considered an outlier in Latin America in terms of its digital access, my analysis emphasizes the importance of highlighting points of individual variation within the region to disaggregate regional-level conclusions regarding the state of “Latin American” television.

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“…Online respondents intermingle informal and formal speech genres, personal insults, desires, nationalist laments, and rumor. The song's social significance resides in how its parodic function links audiences and performers, official and user‐generated content, news and entertainment in building a dispersed sphere of deliberation about music (Ashley ; Bernal )…”

Section: Virtual Circulationmentioning

confidence: 99%

“…Anthropologists have had a long‐standing interest in the significance of humor for how people produce power and contest social order (Douglas ; Radcliffe‐Brown ). In recent years, ethnographers have argued that parody is crucial to political discourse in a variety of contexts (Ashley ; Bernal ; Boyer ) . The production and circulation of “Thank God We're Not a Nigerians,” together with digital responses to the song within a mobile, anglophone West African public, reveal how a curiously intimate relationship between parody and identity has evolved in the era of digital‐media circulation.…”

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confidence: 99%

Parody after identity: Digital music and the politics of uncertainty in West Africa

Shipley

2017

American Ethnologist

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The FOKN Bois are an irreverent, cosmopolitan hip‐hop duo from Ghana. They came to fame as part of the digital‐music boom centered in Nigeria that has dominated African popular culture since the mid‐2000s. Their most popular track, “Thank God We're Not a Nigerians,” mocks the national rivalry between Ghana and Nigeria and the idea of national allegiance itself. The song's production and circulation reveal that digital parody is increasingly central to how a rising generation of urban Africans live. Through sounds and images circulating on social media, young cosmopolitan Africans rely on a smartphone‐driven social media–scape to reimagine national territorial identity in virtual terms. The FOKN Bois’ work shows that uncertainty and contradiction can be modes of knowing.

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Prime‐time politics: News, parody, and fictional credibility in Chile

Cited by 6 publications

References 33 publications

The Ends of Anthropology: 2014 in U.S. Sociocultural Anthropology

The Ends of Anthropology: 2014 in U.S. Sociocultural Anthropology

Chilean Television on Shifting Terrain: Movement Toward a Postnetwork Era

Parody after identity: Digital music and the politics of uncertainty in West Africa

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