Browsing Department of Intercultural Communication and Management (ICM/IKL) by Title
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Moeran, Brian (Frederiksberg, 2015)[More information][Less information]
Abstract: This article is about international women’s fashion magazines―specifically Elle, Harper’s Bazaar, Marie Claire and Vogue―and the part they play in creating and sustaining the fashion industry as a system of magic. That it is indeed a system may be seen in the fact that, as with other systems of magic, the fashion industry makes use of magicians, magical rites, and magical representations. URI: http://hdl.handle.net/10398/9270 Files in this item: 1
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Skov, Lise; Skjold, Else; Moeran, Brian; Larsen, Frederik; Csaba, Fabian F. (, 2009)[More information][Less information]
Abstract: Not so many years ago, the fashion industry was called a ‘sunset industry’, and was deemed to have no future in the most developed countries. But recently, the New York Times has suggested that ‘the sun never sets on the runway’ (Wilson, 2008). Under this heading the article described the diffusion of fashion week organizations, with accompanying fashion shows, that are no longer limited to a handful of fashion capitals, but are spreading to small-country capitals and medium-sized cities all around the world. URI: http://hdl.handle.net/10398/7943 Files in this item: 1
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Uldam, Julie (Frederiksberg, 2010)[More information][Less information]
Abstract: In the wake of increasing disillusion with the potential of alternative online media for providing social movements with a virtual space for self-representation and visibility (Atton, 2002; Downing, 2001; Rodriguez, 2001) activists have been adopting online social media into their media practices. With their popular appeal and multimodal affordances social media such as YouTube and Facebook have reinvigorated hopes for the potential of the internet for providing social movements such as the Global Justice Movement, which is often misrepresented as a homogeneous and in a negative light in the mass media (Gamson and Wolfsfeld, 1993; Juris, 2008), with new possibilities for promoting self-representations to wider publics – beyond the echo chambers of alternative media (Cammaerts, 2007; Sunstein, 2001). In the mediation of institutional politics the increasing use of popular online spaces has brought about the term ’YouTube‐ification of Politics’ (Turnsek and Jankowski, 2008). However, two challenges remain: the first relates to fragmentation – the internet’s properties as a ‘pull-medium’ is argued to merely connect likeminded users (Cammaerts, 2007: 138). The second relates to ’lazy politics’ – the internet’s ephemeral properties are argued to facilitate brief participation in single-issue campaigns that fails to foster political engagement (Fenton, 2008a: 52). This thesis focuses on the latter. It addresses the possibilities of popular online spaces for fostering collective solidarity and political engagement in social movement organisations. It explores how these possibilities are played out in the online arena of popular sites employed by the two London-based social movement organisations: the World Development Movement (WDM) and War on Want. Drawing on the cases of WDM and War on Want, the thesis addresses three dimensions of these practices, exploring (1) rationales for using popular online spaces to promote the SMO agenda; (2) the social movement organisations’ online campaigns; and (3) members’ identifications with the campaigns through discourse analysis and interviews with SMO directors, campaign, outreach and web officers as well as SMO members. It is by analysing how SMOs use different online spaces as locations for strategic framing and the formation of political identities that we can begin to study how the internet may contribute to an agonistic public sphere where also voices of dissent are heard. The thesis is based on Mouffe’s understanding of politics and the political as grounded in discourse but also based on a view of political engagement as conflictual, affective and sometimes irrational (Cammaerts, 2007; Fenton, 2009; Mouffe, 2005). Even though this does not mean that SMOs do not apply rational considerations in planning their strategic agendas for public visibility and legitimacy, it does mean that the study of these considerations need to take into account this dual character of political discourse as both rational and affective (Hajer and Versteeg, 2005). Therefore, we need to consider instrumental and affective issues to understand the relationship between strategic protest and the underlying dynamics of intragroup commitment (Griggs and Howarth, 2002; Snow et al., 1986) – the interconnections between strategy and identity, external resonance and internal commitment. In this way, the democratic potentialities of the internet can be seen as not only related to the ways in which SMOs communicate their agenda but also to potentialities for forging political identities and commitment (Fenton, 2008a). URI: http://hdl.handle.net/10398/8211 Files in this item: 1
Julie_Uldam.pdf (6.193Mb) -
a cross-cultural comparison of ELLEMoeran, Brian (København, 2002)[More information][Less information]
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advertising social organisation in JapanMoeran, Brian (København, 2002)[More information][Less information]
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Design af levende billeder i film og tv-serierWille, Jakob Ion (Frederiksberg, 2015)[More information][Less information]
Abstract: Ph.d.-afhandlingen Film som Design undersøger, beskriver og kortlægger design og designerens arbejde i filmens og det levende billedes verden for på den baggrund at bidrage med indsigter i og foreslå analytisk håndtering af det, der bredt forstås ved det levende billedes design. Generelt behandler filmens teorier det levnende billedes stil og design som en reaktion på filmens eller tvseriens dominerende narrativ. Omvendt opfatter designtænkningen generelt filmens eller tv-seriens design som repræsentation af designartefakter. Mens disse forståelser i og for sig er rimelige, udtrykker de også en begrænset indsigt i filmisk design. Det primære mål for afhandlingen er derfor at udvide forståelsen og betydningen af design i den filmiske produktion og det filmiske værk. Dette sker gennem empiriske studier af film- og tv-produktioner og ved at overføre begreber og metodeforståelse fra designverdenen til filmens verden. Der tages på den måde hovedsageligt udgangspunkt i eksisterende filmvidenskabelig og designfaglig teori, der søges appliceret på filmens design for på den bagrund 1) at formidle og udvikle ny viden om området og foreslå anvendelsesorienteret metode til analytisk arbejde med dette samt 2) at revurdere og evt. revidere opfattelsen af designets betydning for skabelsen af det filmiske værk. På den måde tydeliggøres på den ene side designeren og designets betydning for skabelsen og oplevelsen af det visuelle værk, mens denne forståelse på den anden side søges instrumentaliseret i både praktisk anvendelsesorienteret og analytisk metode. For at differentiere sig fra mere kontekstorienterede diskurser arbejdes der i afhandlingen hovedsagligt med en formalistisk forståelse af det levende billede, inspireret af en poetik, hvor det levende billedes design primært opfattes som et resultat af kunstneriske eller designmæssige valg. Implicit i denne forestilling findes samtidig idéen om designeren som væsentlig medskaber (eller demiurg) af filmen eller tv-seriens fiktive univers. Disse og andre forestillinger fremstillet i afhandlingen sandsynliggøres gennem et empirisk materiale, der blandt andet indeholder studier af designarbejdet i så forskellige film som Lars von Triers Melancholia (2011) og Steven Spielbergs Minority Report (2001). Dertil bygger afhandlingen blandt andet på eksempler fra danske og internationale tv-serier samt på erfaringer fra et eksperimenterende samarbejde mellem manuskript- og producerelever fra Den Danske Filmskole, studerende fra Det Danske Kunstakademis Skole for Design og Danmarks Radio, TV-DRAMA. Endelig trækker afhandlingen på en bred vifte af eksempler på filmisk design fra det vestlige korpus af klassiske film fra George Méliès Le voyage à travers l’impossible (1904) til Stanley Kubricks 2001: A Space Odyssey (1968). URI: http://hdl.handle.net/10398/9106 Files in this item: 1
Jakob Ion Wille.pdf (16.57Mb) -
Lund-Thomsen, Peter (København, 2007)[More information][Less information]
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Om kulturel produktion på Roskilde FestivalMunkgård Pedersen, Kristine (Frederiksberg, 2010)[More information][Less information]
Abstract: The dissertation explores how cultural production is unfolding at Roskilde Festival – the biggest music- and culture festival in Denmark. The overall question being adressed is how the festival is assembled. The question is explored through four subquestions related to the cultural expressions, identity and materiality of the festival. The first part of the dissertation investigates the specificity of the festival’s audience- based culture. The symbolic and historical connections between the festival and the 1960s’ cultural activism is argued to be of an importance to the socioaesthetics, performed jointly by audience as well as performers. The dissertation further investigates how the identity of the festival is being negotiated between a number of different commercial and cultural actors: sponsors, volunteers and artists among others. The many different economic and cultural practices and values converge when the festival ground is being transformed from anonymous space to festival space embracing both cultural and commercial content. In this regard the dissertation investigates how the valuebased economic logics of subcultural production is debated and negotiated during the pratices of materializing space. It is argued that the complexity of the festival identity adds to the credibility of the festival and its many different producers. The second part of the dissertation is a socio-material analysis of two festival projects. One is the hybrid festival area Cosmopol, the other is the Orange Stage area. The analyses are based on a research agenda developed by the Actor- Network-Theory (ANT) which explores how ideas are materialised through proceses of interaction, translation and involvement. The explorations explain how subcultural attitudes, practices of transgression and oppositional identity are distributed through an ephemeral network of actors including humans (volunteers, artists, performers) and things (scenes, art works, graffiti, pictures and music) which forge performative alliances with the festival audience. URI: http://hdl.handle.net/10398/8058 Files in this item: 1
Kristine_Munkgaard_Pedersen.pdf (17.24Mb) -
a transaction cost perspectiveHansen, Michael W. (København, 2002)[More information][Less information]
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: Fragrance and perfume connect with our most basic and primitive window on the world – our sense of smell. Animals use their sense of smell to find food, sense danger and mate. So, too, do human beings. Mothers and their babies bond through smell. Smell triggers memories buried long in our unconscious, probably because our sense of smell is linked directly to the limbic system, the oldest part of the brain, which is the seat of emotion and memory. Throughout the ages in Western civilization, fragrance has been used to communicate spirituality, passion, and both masculinity and femininity. URI: http://hdl.handle.net/10398/7772 Files in this item: 1
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a redefinition of the strategies of local adaptation and global standardizationKragh, Simon (København, 2001)[More information][Less information]
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Anthropology, Fieldwork and Organizational EthnographyMoeran, Brian (København, 2007)[More information][Less information]
Abstract: This paper looks at the relationship between anthropology, fieldwork and what is referred to as ‘organizational ethnography’. It starts by distinguishing between fieldwork, which is a method of conducting qualitative research, initially in the discipline of anthropology, and ethnography, which is the writing up of that research. The paper makes use of the author’s fieldwork experiences in a Japanese advertising agency to illustrate a number of features that define fieldwork as a methodology. It argues that it is the shift from participant observation to observant participation that enables the fieldworker to move from front stage to back stage in the study of an organization, and thereby to gain information and knowledge that is otherwise available only to insiders. Fieldwork, Anthropology, Organizational Ethnography, Observant Participation URI: http://hdl.handle.net/10398/7038 Files in this item: 1
wp 2007-2.pdf (264.9Kb) -
The case of travel guidebook productionAlačovska, Ana (Frederiksberg, 2013)[More information][Less information]
Abstract: This thesis focuses on the production of travel guidebooks. Its aim is to explore the mutual coconstruction and entanglement of genres, producers and institutions in cultural production and cultural work. It also examines how authorial and institutional, professional and industrial selfreflexivity exists in and through ambiguous and shifting interrelations with genres and their poetics. To this end, it develops a preliminary theoretical framework for a comprehensive exploration of the complex dynamics of cultural production that is attentive to the cultural objects themselves: here, a down-market, ‘uninventive’ and ‘heteronomous’ genre known as the travel guide(book). The thesis argues that the specificity of the genre is continually contextualized and re-contextualized, qualified and re-qualified, commodified and rendered autonomous, in the daily, local, and intimate practices of guide-making. The argument presented is that the genre is not merely a backdrop for creative agency or a predetermined set of rules, but a complex entity – spatially and temporally dispersed – that affords autonomous opportunities for various modes of action, self-definition, and self-interpretation. Thus, genres are active elements or animating forces of cultural production, rather than merely outcomes of industrial dynamics. What arises from the empirical material is that cultural producers experience ‘autonomy’ in and through the notion of genre which itself is fuzzy, vague, tacit, implicit and often non-formalized. Nonetheless, it is obdurately present in a spectrum of strategies, rhetoric, a sense of responsibility, expertise and professionalism applied by such producers in order to explain, define and justify their practical decisions and evaluations. The first three chapters explore perceived limitations of sociological, anthropological and sociocultural paradigms of cultural production. They also indicate some potential areas for crossfertilization with genre theory, which has conceptualized the notion of genre as social action, cognitive action-schemata, and institutions that mediate between industry, producers, and audiences. The last four chapters follow and trace interpenetrating and interlocking relations between genres and institutions firstly, as they mutually and historically co-produce each other in industrial practice; secondly, as entangled in individual and professional auto-biographies with reference to the genre and its adjacent markets; and third, as embedded in actual production practices - how guidebook producers make use of and interact with the editorial brief (or institutionalized and contractually binding genre specificity) and independent genre trajectories (autonomous logic), while making daily evaluations of their work and their own professional selfreflexivity. URI: http://hdl.handle.net/10398/8703 Files in this item: 1
Ana_Alacovska.pdf (2.311Mb) -
Henriksen, Ken (København, 1996)[More information][Less information]
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new public managementBislev, Sven; Salskov-Iversen, Dorte (København, 2001)[More information][Less information]
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Bislev, Sven; Salskov-Iversen, Dorte; Krause Hansen, Hans (København, 2001)[More information][Less information]
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Krogh Petersen, Morten (Frederiksberg, 2011)[More information][Less information]
Abstract: ‘Good’ Outcomes – Handling Multiplicity in Government Communication This thesis examines how five Danish government organizations produce and assess communicative solutions in practice, and argues that government communication may be understood as a case of multiplicity. In the practices of producing and assessing communicative solutions it is uncertain what constitutes a ‘good’ outcome of government communication. This uncertainty is grasped by drawing upon analytical resources from the field of multiplicity-oriented ANT analyses. Empirically, the thesis is based on ethnographic fieldwork conducted at the five government organizations. Combining empirical observations, theoretical insights, and political programmes, four ‘modes of ordering’ are developed and these are utilized in exploring how the multiplicity of government communication unfurls and how it is handled in practice. The thesis shows how the ordering attempts described by the four modes of ordering coexist and interfere, and it suggests the notions of ‘sequencing’ and ‘singularizing’ for understanding how the multiplicity of government communication is handled in the production and assessment of communicative solutions. The study upon which the thesis reports has been carried out in connection with a larger Industrial PhD project, entitled Measurements you can learn from, that aimed at developing, testing, and implementing new and better communication measurements. URI: http://hdl.handle.net/10398/8306 Files in this item: 1
Morten_Krogh_Petersen.pdf (10.91Mb) -
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Abstract: Tourism policy matters in cultural tourism. The starting point of this paper is the observation that many tourism policy studies draw three inter-related conclusions. One, tourism policy must be inclusive and require the support of different stakeholders (Baker 2009; Bernhard Jørgensen and Munar 2009). Two, a balanced approach to tourism policy is needed to harness the benefits of tourism while mitigating negative effects (Budeanu 2009; Chang 1997; Jenkins 1997; Leheny 1995, Newby 1994; Teo and Yeoh, 1997). Three, tourism policies should accentuate and maintain the cultural uniqueness and authenticity of the destination (Morgan et al. 2011). It seems that many tourism authorities are ignorant of local interests, unaware of the touristification of local cultures and uninterested in promoting local cultures. But local cultures and communities are what that constitute cultural tourism. URI: http://hdl.handle.net/10398/8394 Files in this item: 1
Can-Seng_Ooi_WP_2012.pdf (37.99Kb) -
Security on the US-Mexican borderBislev, Sven; Salskov-Iversen, Dorte; Krause Hansen, Hans (København, 2001)[More information][Less information]
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Transformations of a hegemonic discourseSalskov-Iversen, Dorte; Krause Hansen, Hans; Bislev, Sven (København, 1999)[More information][Less information]