TV Dinners: Culinary Television, Education and Distinction

Solier, Isabelle de

doi:10.1080/10304310500322727

Cited by 107 publications

(71 citation statements)

References 16 publications

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“…Television is ranked below the first three among the students' choices of web pages, but is a well-known distinction marker (e.g. de Solier, 2005;Kuipers, 2006). At this time, I do not count answers or rank categories or pages: I simply put forward all the alternatives mentioned at least once in each category, by each student group.…”

Section: Most Frequented Webpages As Micro Level Distinctionsmentioning

confidence: 99%

Digital distinctions: mechanisms of difference in digital media use

Bengtsson

2015

MedieKultur

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IntroductionThis article aims to understand digital media use as acts of distinction, and to explore the cultural mechanisms behind these distinctive acts. There is already a path well-trodden by scholars who have used Pierre Bourdieu's sociology of taste to understand digital media practices (cf. Bengtsson & Lundgren, 2005;Petrov & von Feilitzen, Kvasny, 2006;North et al., 2008; Zillien & Hargittai, 2009;Robinson, 2009;Hargittai, 2010;Meyen et al., 2010;Gripsrud et al., 2011;Hollingworth, 2011;Kalmus et al., 2011;Danielsson, 2014). Many of them, however, have approached the uses of digital media as aspects of civic agency, and relate them to the "digital divide" and the democratic assets of the users. These studies have given us detailed information about how Internet use is related to democratic behaviours and engagement, and of the variety in how different groups with diverse economic and cultural capital use and relate to digital media. Although indisputably important, I see some shortcomings in continuing to only use Bourdieu's theory in this way to understand digital media use. Firstly, it rarely relates the user's online preferences and practices to interrelated practices in a wider cultural context and, as a result, overemphasises the boundaries between offline and online spheres. Digital media use and preferences are not isolated from other cultural practices. Rather, they are interwoven in the wider context of everyday life. Secondly, it does not regard online practices as distinctive acts in their own right, thus ignoring the significance of the Internet as a cultural (and not just political) sphere. In this article, I explore the distinctive mechanisms of digital media use, analysing digital media use as a cultural practice among others. Besides quantitatively revealing differences between user groups, I also dig deeper into the ways four groups of university students articulate their own use of digital media.In doing this, I follow Jonathan Sterne's proposal to understand Internet use from an everyday life perspective, i.e. relating differences in Internet use and users' tastes, and preferences to distinctive acts in other cultural fields (Sterne, 2003). To understand the logic of practice of digital distinction, Sterne argues that:[T]echnologies do not have an existence independent of social practice, they cannot be studied in isolation from society or from one another. They are embodied in lived practice through habitus, and so even the basic 'phenomenological' aspects of technological practice and experience are themselves parts of the habitus. (Sterne 2003: 385) Bourdieu always put forward a relational understanding of cultural practices, following (post)structuralism in understanding the meaning of cultural signs in relation to other cultural signs. The significance of signs is thus revealed "by everything which distinguishes it from what it is not and especially from everything it is opposed to; social identity is defined and asserted through difference." (Bourdieu, 1979(Bourdieu, , 1984....

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Section: Most Frequented Webpages As Micro Level Distinctionsmentioning

confidence: 99%

Digital distinctions: mechanisms of difference in digital media use

Bengtsson

2015

MedieKultur

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“…However, the existing cultural work about food suggests this is a rich field for research Ashley et al, 2004;Wurgaft, 2005), and given the frequent suggestion that contemporary consumer culture is largely filled with commodified celebrity products (Wicks et al, 2007;Brownlie and Hewer, 2009;Ferris, 2010), the study of celebrity chefs could offer insights into their place in food culture in contemporary society. Research suggests that entertainment value is the greatest strength of celebrity chef programming (Caraher et al, 2000;Lang and Heasman, 2004;Henderson, 2011), therefore, a primary issue concerns whether or not they actually educate viewers in cooking practices (de Solier, 2005), and this question will also be addressed.…”

Section: Introductionmentioning

confidence: 99%

“…Therefore, beyond the chef's traditional realm of restaurant kitchens, the celebrity chef has the ability to reach large international audiences, in a market compromising diners, viewers, readers, internet users and consumers of food and food related products (Henderson, 2011;Scholes, 2011). Several studies (de Solier, 2005;Hansen, 2008;Scholes, 2011) have discussed how changes in media technology have meant celebrity chef exposure is greater now than ever before, as there are more outlets for those who seek it, and multiple sources of media streamed at those who wish to avoid it (Drake and Miah, 2010). The style in which celebrity chefs communicate with their audience has also changed, and today's celebrity chefs are more histrionic than static (Chiaro, 2008).…”

Section: Introductionmentioning

confidence: 99%

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The influence of celebrity chefs on a student population

Lane

Fisher

2015

British Food Journal

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Purpose – The purpose of this paper is to investigate the exposure of a student population to celebrity chef television programmes, to assess the influence these figures have, and how they are perceived. Design/methodology/approach – A survey was conducted through an online questionnaire distributed at Bath Spa University. The approach included asking respondents why they watched programmes featuring celebrity chefs; to select a named celebrity chef whom they thought had most influenced their food habits, and to name particular chefs relating to campaign descriptions. Findings – A significant proportion of the study group watched television programmes fronted by celebrity chefs (84 per cent); the main reason for watching was for entertainment. Overall, reported influence was insignificant, though Jamie Oliver was selected as the chef with most influence on the respondent’s food habits. Jamie Oliver’s campaign to improve school dinners was also the most recognised, and celebrity chefs were generally viewed positively. Research limitations/implications – The study population was quite specific in its gender, age and ethnicity, and therefore might not be representative of wider society. Further work could consider gender differences in chef influence, as well as different forms of exposure. Originality/value – Despite their ubiquity, academic research into the role of the celebrity chef in modern society is limited, where very few studies have assessed the influence of named chefs or the public perception of these figures. This paper gives an insight into this under-researched field.

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“…They speculate that for the audience it is the fantasy that they might themselves be able to cook what they see being cooked on television that is the source of their viewing pleasure, and concluding, drawing on the work of Pierre Bourdieu (Bourdieu, 1984), that this has something to do with the urge for social distinction, the audience for these shows enjoying the fantasy of the cultural capital that the culinary skills and the lifestyles they promise might afford them. Different work in this vein has explored the phenomenon of the celebrity chef in increasing depth (Hollows, 2003;de Solier, 2005;Goldstein, 2005;Ray, 2007;Hansen, 2008;2010a, 2010b some taking a broader, contextualising 'television studies' approach to try to explain their popularity and assess their significance (Adema, 2000;Meister, 2000;Inness, 2005;Ketchum, 2005;Collins, 2009;Bennett, 2010). The analysis of food in these and other specific media forms -'lifestyle' programmes and magazines, for example (Hollows, 2006; -draws attention to the representation of female roles and femininity, ethnicity, gender identities, social class and domesticity.…”

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confidence: 99%

Food and the Media: Production, Representation, and Consumption

Dickinson¹

2013

The Handbook of Food Research

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TV Dinners: Culinary Television, Education and Distinction

Cited by 107 publications

References 16 publications

Digital distinctions: mechanisms of difference in digital media use

Digital distinctions: mechanisms of difference in digital media use

The influence of celebrity chefs on a student population

Food and the Media: Production, Representation, and Consumption

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