Krogh, Mads, and Henrik Marstal, editors. Populærmusikkultur i Danmark siden 2000. (2016)

Krogh, Mads, and Henrik Marstal, editors. Populærmusikkultur i Danmark siden 2000. Odense: Syddansk Universitetsforlag, 2016.

Denne bog handler om populærmusikkultur i Danmark siden 2000. Om den myriade af genrer, stilarter, moder og konkrete musikudgivelser, -optrædener og -oplevelser, som udgør populærmusikkens vidtstrakte og brogede felt. Om de fans, artister, pladeselskaber, festivaler, koncertbegivenheder, sportskampe, uddannelsesinstitutioner, musikpolitiske og mediemæssige tiltag med meget mere, som tegner populærmusikkens kultur. Og om de ændrede betingelser for musikfrembringelse og -forbrug bragt til veje af globalisering og den digitale musikrevolution. 

Bogen fokuserer på en række aspekter af periodens rap, pop, rock, metal, verdensmusik og electronica – ikke blot på kunstnerne og deres tekster, produktioner, udgivelser og optrædener, men også på alt det, der udspiller sig rundt om kunstnerne, dvs. fankulturerne, pladeselskaberne, festivalerne, koncertbegivenhederne, talentudviklingen med mere. Bogens tilgang til emnet er interdisciplinær, og bidragyderne kommer fra så forskellige fag og forskningsfelter som musikvidenskab, antropologi, pædagogisk filosofi samt køns-, litteratur-, design- og kommunikationsforskning. 

Indhold:

Tore Tvarnø Lind: “Ikke noget copy/paste-lort her” : nostalgi og intensitet i metalscenen.

Annemette Kirkegaard: Verden i Danmark : om det fremmede i musikkulturen efter 2000.

Mads Krogh: Aarhus V som hiphopbrand : heterogene forbindelser af musik, genre og miljø.

Kristine Ringsager: “Danmark som vi kender det” : forhandlinger af medborgerskab og andethed i rap og hiphopmusik.

Henrik Marstal: Sproglige sammenvævninger : dansk og engelsk som overlappende sangsprog.

Marianne Kongerslev: Musikalsk homonationalisme? : queer narrativer i dansk populærmusik efter 2000.

Lars Geer Hammershøj: Melankoli kørt ind med humor : dansk populærmusik som selvdannelse.

Else Skjold: Hvor mon den er, den røde tråd? : om musik og stil i mænds garderober. Fodboldkampens musik : om forekomsten af musik i forbindelse med en superligakamp /

Rasmus Grøn & Nicolai Jørgensgaard Graakjær. Jagten på de skjulte talenter : rytmisk musik mellem organiseret talentpleje, talentshows og selvorganisering

Charlotte Rørdam Larsen & Anja Mølle Lindelof. Kimberley Cannady: Om artikulationen af danskhed i musikeksportinitiativer siden 2000.

Rasmus Rex Pedersen: Den digitale (r)evolution : institutionelle forandringer i den danske musikbranche

PDF af introduktion og udvidet indholdsfortegnelse: http://www.universitypress.dk/images/pdf/2954.pdf.

http://www.universitypress.dk/shop/populaermusikkultur-3546p.html

Körber, Lill-Ann. ‘Gold Coast (2015) and Danish Economies of Colonial Guilt’. (2018) [PDF]

Körber, Lill-Ann. ‘Gold Coast (2015) and Danish Economies of Colonial Guilt’. Journal of Aesthetics & Culture, vol. 10, no. 2, Routledge, Apr. 2018.

The article discusses Daniel Dencik’s feature film Gold Coast (2015), about the last phase of Danish colonialism in today’s Ghana, as an example for recent representations of Danish colonial history. Combining historian of ideas Astrid Nonbo Andersen’s exploration of Danish narratives of “innocent colonialism”, Gloria Wekker’s concept of “White Innocence”, and film historian Thomas Elsaesser’s model of “guilt economies” as a feature of the legacy of perpetrator nations (2014), the article provides a framework within which to examine figurations of colonial guilt and innocence in Gold Coast. The main argument is that the film’s treatment of colonial guilt primarily takes the form of maintenance of innocence. It thereby contradicts the challenges currently being pitted elsewhere against the narrative of innocent colonialism.

doi:10.1080/20004214.2018.1438734.

PDF: https://doi.org/10.1080/20004214.2018.1438734.

Hjarvard, Stig, and Mattias Pape Rosenfeldt. ‘Giving Satirical Voice to Religious Conflict’. (2017) [PDF]

Hjarvard, Stig, and Mattias Pape Rosenfeldt. ‘Giving Satirical Voice to Religious Conflict’. Nordic Journal of Religion and Society, vol. 30, no. 02, Nov. 2017, pp. 136–152.

his study concerns the Danish public service broadcaster DR’s television satire and comedy show Det slører stadig Still Veiled and its influence on public discussions and controversies concerning religion. Whereas news media’s coverage of Islam is often criticized for having a negative bias and thereby serving to escalate conflict, the cultural programming of public service broadcasters may provide different representations and enable more diverse discussions. In this study we consider how and to what extent Still Veiled gave rise to discussion and controversy concerning religion in both the general public sphere and in smaller cultural publics constituted through various social network media. The analysis shows that several, very different framings of religion appear in these debates. These debates furthermore involve a significant proportion of minority voices. The analysis suggests that a cultural public sphere may work as a corrective to the political public sphere dominated by news media.

doi:10.18261/issn.1890-7008-2017-02-03.

https://www.idunn.no/nordic_journal_of_religion_and_society/2017/02/giving_satirical_voice_to_religious_conflict.

Hjarvard, Stig, and Mattias Pape Rosenfeldt. ‘Planning Public Debate: Beyond Entrenched Controversies About Islam’. (2018) [PDF]

Hjarvard, Stig, and Mattias Pape Rosenfeldt. ‘Planning Public Debate: Beyond Entrenched Controversies About Islam’. Contesting Religion, Ed. Knut Lundby, Berlin, Boston: De Gruyter, 2018, 117–134. Crossref,

The contentious public debates about Islam in Scandinavia may to some extent be characterized as an entrenched conflict, upheld by stereotypical framings and fixed rhetorical positions. This case study examines public service media’s ability to facilitate public debates that move beyond such ingrained positions. Through interviews with key professionals behind the TV documentary Rebellion from the Ghetto, we examine the strategies for generating public debate about cultural and religious problems. We furthermore analyse online and offline debates, with particular focus on the inclusion of minority voices and how framings of religion enter and influence the discussion. By consciously downplaying the role of ‘religion’ and framing conflicts in terms of personal experiences and universal themes, the documentary managed to set the scene for a debate in which young Muslims’ various experiences were given authority, thereby allowing the debate to transcend the usual ‘us–them’, ‘majority–minority’ framing of these issues.

doi:10.1515/9783110502060-012.

PDF: http://www.degruyter.com/view/books/9783110502060/9783110502060-012/9783110502060-012.xml.

Jørholt, Eva. ‘En Fremmed Kommer Til Byen: MGP Missionens Bud På Inter-Etnisk Nytænkning i Dansk Film’. (2013) [PDF]

Jørholt, Eva. ‘En Fremmed Kommer Til Byen: MGP Missionens Bud På Inter-Etnisk Nytænkning i Dansk Film’. Kosmorama, no. 251, 2013,

Det trak store overskrifter og pustede nyt liv i racismedebatten, da det kom frem, at Det Danske Filminstitut i oktober 2011 havde givet afslag på en ansøgning om produktionsstøtte til børnefilmen MGP Missionen. Filmen udmærker sig ved at være den første decideret kommercielt anlagte danske film med etniske minoriteter i bærende roller. Men derudover bidrager filmen til en dekonstruktion af den forskelstænkning, som er så altdominerende i den offentlige debat om indvandrere her til lands.

Fuld tekst: https://www.kosmorama.org/kosmorama/artikler/en-fremmed-kommer-til-byen-mgp-missionens-bud-pa-inter-etnisk-nytaenkning-i.

Marselis, Randi. ‘Descendants of Slaves: The Articulation of Mixed Racial Ancestry in a Danish Television Documentary Series’. (2008) [PDF]

Marselis, Randi. ‘Descendants of Slaves: The Articulation of Mixed Racial Ancestry in a Danish Television Documentary Series’. European Journal of Cultural Studies, vol. 11, no. 4, SAGE Publications Ltd, Nov. 2008, pp. 447–469.

The aim of the Danish television documentary series Slavernes Slægt (Descendants of Slaves, 2005) has been to enhance public awareness of Danish colonial history. As is typical of contemporary mediated memories, the account of national history is combined with `small histories’ that focus on live stories of individuals and their families. Participating in the series are present-day descendants of enslaved Africans who, as a result of an interest in family historical research, have found information about their black ancestry. The series challenges the supposed historical homogeneity of Nordic nation-states by pointing out the historical presence of black individuals. However, this article will show how discourses of family history (e.g. the focus on bloodlines) converge with old `race’ theory; the result of which is that the series inadvertently reproduces processes of visual Othering.

doi:10.1177/1367549408094982.

PDF: https://doi.org/10.1177/1367549408094982.

Moffat, Kate. ‘Race, Ethnicity, and Gang Violence: Exploring Multicultural Tensions in Contemporary Danish Cinema’. (2018) [PDF]

Moffat, Kate. ‘Race, Ethnicity, and Gang Violence: Exploring Multicultural Tensions in Contemporary Danish Cinema’. Scandinavian Canadian Studies, vol. 25, Oct. 2018, pp. 136–153.

One of the most striking genre conventions to emerge in Danish cinema in recent years is the gangster motif. Replete with gritty social realism, urban decay, and tribal warfare between different ethnic groups, these films reflect a growing discontent in the Danish welfare state, particularly regarding multiculturalism and inclusion. This article follows these trends from the mid-1990s, focusing specifically on the themes of ethnic division in four films: Nicolas Winding Refn’s Pusher (1996), Michael Noer’s Nordvest (2013) [Northwest], Omar Shargawi’s Gå med fred, Jamil (2008) [Go With Peace, Jamil], and Michael Noer and Tobias Lindholm’s R (2010) [R: Hit First, Hit Hardest]. The article explores racial division in these films by examining how they reflect or subvert cultural and political approaches towards diversity in Denmark over the last two decades.

https://www.stir.ac.uk/research/hub/publication/535424

PDF: https://www.researchgate.net/publication/340262254_Race_Ethnicity_and_Gang_Violence_Exploring_Multicultural_Tensions_in_Contemporary_Danish_Cinema.

Skadegård Thorsen, T. ‘Gendered Representation in Danish Film’. (2020)

Skadegård Thorsen, T. ‘Gendered Representation in Danish Film’. Women in the International Film Industry: Policy, Practice and Power, Ed. Susan Liddy, Cham: Springer International Publishing, 2020, 111–130.

Film studies in Denmark often center on either production studies or content analyses. Most frequently examinations of gender in film fall into the latter category. As such, most analyses of gender in Danish film emphasize what happens on screen. In the Danish film industry, however, gender representation has increasingly become a question linked to equity and equality both behind the cameras and on film. This has been propelled, in particular, by the Danish Film Institute’s (DFI) diversity initiatives, of which a special gender effort was launched in 2015.This article analyzes the premises, presumptions, and potential risks associated with the Danish approaches to gender inequality in Danish film. The article shows that approaching gender equality through what Crenshaw would call ‘single axis analysis’ severely limits the problem-solving capabilities of diversity initiatives such as those launched by the DFI.While gender equality in the Danish film industry has arguably been both understudied, less negotiated, and less governed than is the case in neighboring nations, Denmark has a prevalent national narrative driven by a gender-progressive self-image. Perhaps unsurprisingly, then, Danish female directors and creatives have enjoyed immense international success, and female-driven narratives have been central to the recent export success of many Nordic Noir series. Nonetheless, this article takes a closer look at how the Danish film industry is handling questions of gender equality in film.

doi:10.1007/978-3-030-39070-9_7.

https://doi.org/10.1007/978-3-030-39070-9_7.

Ringsager, Kristine. ‘Rap, Rettigheder, Respekt: En Musikalsk Antropologi Om Medborgerskab, Kosmopolitisme Og Brune Rappere i Danmark’ (2015) [PDF]

Ringsager, Kristine. Rap, Rettigheder, Respekt: En Musikalsk Antropologi Om Medborgerskab, Kosmopolitisme Og Brune Rappere i Danmark. Copenhagen: Dissertation. University of Copenhagen, Faculty of the Humanities, 2015.

Afhandlingen RAP, RETTIGHEDER, RESPEKT. En musikalsk antropologi om medborgerskab, kosmopolitisme og brune rappere i Danmarkpræsenterer et indblik i en diasporisk, postetnisk rapscene i Danmark. Afhandlingens primære fokus er fremstillingen af fortællinger indhentet gen-nem empirisk feltforskning blandt rappere med synlig minoritetsbaggrund. Dette materiale kon-tekstualiseres og diskuteres ud fra et bredt udvalg af litteraturer, som belyser de makro-strukturelle vilkår, der påvirker dagligdagen for deltagerne i rapscenen. De væsentligste fokuspunkter i diskussionen er de erfaringer af andethed, der dannes på bag-grund af et nationalt identifikationsrum, som står i delvis modsætning til det postetniske, transnatio-nale og diasporiske identifikationsrum, som hiphopkulturen og rapscenen udgør. Fra dette udgangs-punkt i et postkolonialistisk tankesæt bredes diskussionen ud til at omfatte emner som globalisering, lokalisering og glokalisering i relation til rap-og hiphopkulturer mere generelt –særligt med fokus på den danske scene, som der også gives en fyldig historisk gennemgang af. Den rapscene, der diskuteres,spænder fra et undergrundmiljø over en kommerciel musikbranchetil arbejdet med rapmusik i den medborgerskabs-og integrationsorienterede offentlige sektor. Af-handlingen viser, hvordan rapperne benytter den musik, de producerer, til at udtrykke ønsker og krav om rettigheder og respekt i spændingsfeltet mellem minoritets-og majoritetsprocesser. I for-længelse heraf belyser afhandlingen spændingen mellem, at rappernes synlige andethed både sætter begrænsninger og giver muligheder, ligesom det også diskuteres hvordan rapperne både fastholdes i og kan kapitalisere på deres synlige andethed. Endvidere behandler afhandlingen spørgsmål om sammenhængene mellem musik, politik og identitet, ud fra en diskussion af,hvordan rappere på forskellige måder aktiverer rap som en kos-mopolitisk ressource til at skabe social forandring. Denne diskussion indebærer også en refleksion af, hvordan disse forandringstiltag finder sted som en konstant forhandling af social empowerment–210illustreret gennem ideer om rapmusiks formålstjenlighed i socialt arbejde –og en kommerciel ste-reotypificering, der hele tiden udfordrer ideerne om rapmusiks emancipatoriske potentiale.

Abstract

This thesistitledRAP, RIGHTS, RESPECT. A Musical Anthropology of Citizenship, Cosmopolitan-ism and Brown Rappers in Denmarkpresents an insight into a diasporic, post-ethnic rap scene in Denmark. The primary focus of the thesis is the presentation of narratives collected in empirical fieldwork among visible minority rappers. This empirical material is discussed and contextualized by a broad selection of literatures that elucidate the macro-structural conditions affecting the every-day of the rappers.The key issues in this discussion are the experiences of otherness, which come into figure on a background of national identifications that are partly in opposition to thepost-ethnic, transnational and diasporic space of identification, offered by hip hop culture and the rap scene. From this post-colonial outset, the discussion is expanded to ideas of globalization, localization and glocalization related to rap and hip hop cultures in a more general sense, with a special focus on the Danish sce-ne, which is presented in a comprehensive historical review.The underground milieu, the music industry, and the part of the public social servicesector working with rap music as a means to advance citizenship and integration, are all part of the rap scene under scrutiny. The thesis shows how the rappers use their music to express hopes and wishes about rights and respect at the intersection of minority and majority processes. In continuation, the tensions between the limitations and opportunities caused by the rappers’ visible otherness are dis-cussed, as are also the implication that they are both fixated by this otherness as well as they are able to capitalize on it. Further, the thesis addresses questions connecting music, politics and identity in a discussion of the different ways in which rappers activate rap as a cosmopolitan resource for social change. This discussion also entails a reflection on how these initiatives for change take place as a constant nego-tiation of social empowerment –as illustrated by the ideas of the expediency of rap music in social 212work –and the commercial stereotyping that is ever challenging the ideas of the emancipatory po-tential of rap music.

https://vbn.aau.dk/en/publications/rap-rettigheder-respekt-en-musikalsk-antropologi-om-medborgerskab

PDF: https://core.ac.uk/download/pdf/269263755.pdf

Madsen, Lian Malai. ‘“The Diva in the Room” – Rap Music, Education and Discourses on Integration’. (2016) [PDF]

Madsen, Lian Malai. ‘“The Diva in the Room” – Rap Music, Education and Discourses on Integration’. Everyday Languaging Collaborative Research on the Language Use of Children and Youth, Eds. Lian Malai Madsen, Martha S. Karrebaek, and Janus Spindler Møller, De Gruyter Mouton, 2016.

https://www.degruyter.com/view/title/305498

PDF: https://www.academia.edu/12880140/The_Diva_in_the_room_Rap_music_education_and_discourses_on_integration

Stæhr, Andreas, and Lian Malai Madsen. ‘Standard Language in Urban Rap – Social Media, Linguistic Practice and Ethnographic Context’. (2015) [PDF]

Stæhr, Andreas, and Lian Malai Madsen. ‘Standard Language in Urban Rap – Social Media, Linguistic Practice and Ethnographic Context’. Language & Communication, vol. 40, 2015, pp. 67–81.

This article focuses on a case that compared to previous studies of hip hop language, is surprising; a group of adolescents in Copenhagen increasingly use more monolingual, standard linguistic practices in their hip hop productions on YouTube. We argue that to fully understand this development, it is necessary to take into account the local, socio-cultural meanings given to particular linguistic resources, and that this cannot be fully captured without attention to the ethnographic and sociolinguistic context. We find that the hip hop language and literacy practices in this context are related to both traditional educational norms and artistic aspirations.

http://www.sciencedirect.com/science/article/pii/S0271530915000038 .

PDF: https://www.academia.edu/11776946/Standard_language_in_urban_rap_Social_media_linguistic_practices_and_ethnographic_context

Stæhr, Andreas, and Lian Malai Madsen. ‘“Ghetto Language” in Danish Mainstream Rap’. (2017)

Stæhr, Andreas, and Lian Malai Madsen. ‘“Ghetto Language” in Danish Mainstream Rap’. Language & Communication, vol. 52, Jan. 2017, pp. 60–73. ScienceDirect, doi:10.1016/j.langcom.2016.08.006. http://www.sciencedirect.com/science/article/pii/S0271530916301100.

In this article, we carry out an ethnographically informed sociolinguistic analysis of language use in contemporary Danish rap. We contextualize our analytical observations by drawing on knowledge from interviews with stakeholders from the music industry and ethnographic fieldwork carried out among a group of young rappers. Based on this research, we argue that while current Danish rap may be innovative and renew the way language is used compared to the linguistic tendencies of the Danish hip hop market before 2013 it does not expand the way language as such is talked about, but to some extent reproduces existing value ascriptions.

doi:10.1016/j.langcom.2016.08.006.

http://www.sciencedirect.com/science/article/pii/S0271530916301100.

Skadegård Thorsen, T., and M. C. Skadegård. ‘Monstrous (M)Others—From Paranoid to Reparative Readings of Othering Through Ascriptions of Monstrosity’. (2019) [PDF]

Skadegård Thorsen, T., and M. C. Skadegård. ‘Monstrous (M)Others—From Paranoid to Reparative Readings of Othering Through Ascriptions of Monstrosity’. Nordlit, no. 42, Nov. 2019.

The Danish film A Horrible Woman (orig. En frygtelig kvinde, 2017) marked a pattern that can be identified throughout several decades of Danish filmmaking. Examples are found in contemporary films like Antichrist (2009), as well as in earlier Danish films like The Abyss (1910) and Red Horses (1950). In these and other examples, women characters exhibit monstrous behavior that can be construed as a form of othering. Furthermore, othering women and mothers by presenting them as terrible, abnormal, or monstrous in Danish (popular) culture goes well beyond the silver screen. In this article, ‘mother–daughter scholars’ M. C. Skadegård and T. Skadegård Thorsen explore how monstrosity functions as a tool for othering in film and other media, offering both a (generational) and historical view, and a discussion of current constructions of monstrosity, on and off screen, in Denmark. The article argues that monstrosity, as a symbol of power and violence, becomes a particularly oppressive gendered gesture. The authors examine this in a correspondence with one another. In letter form, with shifting analytical positions between mother and daughter, a dialogue emerges between generations on questions of ‘(m)otherhood’ in Danish film and other Danish contexts, transitions of female film characters from passive to aggressive, and the role of monstrosity in othering non-white immigrant ‘(m)others’ in public discourse. Finally, the article argues for a different approach to ‘monstrous othering’. Through a reparative reading, it discusses whether there is empowerment and agency connected to being ascribed monstrosity.

doi:10.7557/13.5013.

PDF: https://septentrio.uit.no/index.php/nordlit/article/view/5013.

Moffat, Katie Louise. Crisis Politics in Contemporary Nordic Film Culture: Representing Race and Ethnicity in a Transforming Europe. (2018) [PDF]

Moffat, Katie Louise. Crisis Politics in Contemporary Nordic Film Culture: Representing Race and Ethnicity in a Transforming Europe. PhD Dissertation. University of Stirling, Nov. 2018,

Identity politics in the Nordic region, that is, Sweden, Denmark, Finland, Iceland and Norway, is in crisis. While these five small nations have garnered a reputation for their perceived exceptionalism, liberal progressiveness and strong welfare-orientated agendas, over the last thirty years, immigration into the Nordic region has increased significantly, and the political and cultural debates over ethnicity and belonging have become more intensely polarised. However, the film cultures of these five small nations have responded to these developments in complex and multifaceted ways giving rise to a broad calibre of film texts that both challenge and reinforce dominant perceptions of national identity. 

This thesis attempts to provide some insight into how wider political and ideological shifts have influenced onscreen representations of ethnicity and race over the last three decades. It does so by exploring a range of genres including comedy, social realism, art-house and documentary cinema using close textual and thematic analysis to unearth a region wrestling with the influences of globalisation. The thesis also situates this analysis in relation to film policies relevant to each respective national Nordic film institute, all of whom play an essential role in dictating the direction of Nordic film and media culture. 

Consequently, this research shows that representations of ethnic identity are shaped by ethnocentric perceptions of Nordic whiteness where ‘ethnic Nordic’ characters typically turn the experiences and perspectives of ethnic minorities into their own. However, it also demonstrates how a diversification of production channels, media policy directives and an emerging generation of filmmakers are challenging fixed perceptions of ethnic and racial identities and their relationships with conventional notions of ‘Nordicness.’ These contributions enhance the current scholarship on Nordic film culture by foregrounding the politics of race and ethnicity and further developing the theoretical argument for locating Nordic cinema in the global, transnational context.

PDF: http://dspace.stir.ac.uk/handle/1893/29975.

Vitus, Kathrine. ‘Racial Embodiment and the Affectivity of Racism in Young People’s Film’. (2015) [PDF]

Vitus, Kathrine. ‘Racial Embodiment and the Affectivity of Racism in Young People’s Film’. Palgrave Communications, vol. 1, no. 1, 1, Palgrave, Apr. 2015, pp. 1–9.

. This article uses a bodily and affective perspective to explore racial minority young people’s experiences of racism, as enacted (on film) through disgust and enjoyment. Applying Žižek’s ideology critical psychoanalytical perspective and Kristeva’s concept of “abjection”, the article considers race embodied, that is the racial body both partly Real (in the Lacanian sense) and a mean for the projection of ideological meanings and discursive structures, which are sustained by specific fantasies. From this perspective, the film’s affective racism is “symptomatic” of the discrepancies between, on the one hand, Danish social democratic welfare state ideology and a dominating race discourse of “equality-as-sameness”, on the other, the Real of racial embodiment, which makes the encounter with the Other traumatic and obscene. The analysis exposes the bodily and affective underside of race relations (which lead attempts to discursively undo racism to fail) and instead seeks to undermine the fantasies that sustain racial power relations.

doi:10.1057/palcomms.2015.7.

PDF: https://www.nature.com/articles/palcomms20157

Vitus, Kathrine. ‘“When i Rap, i Feel More like Myself”: Equality and Enjoyment in Young Women’s Rapper Dreams’. (2016) [PDF]

Vitus, Kathrine. ‘“When i Rap, i Feel More like Myself”: Equality and Enjoyment in Young Women’s Rapper Dreams’. Subjectivity, vol. 9, no. 1, Apr. 2016, pp. 59–82.

This article analyzes the relationship between subjectivity and ideology in a short film, Rapper Girl, produced by young women living in multiethnic Copenhagen, and develops the concept of the ‘RapX fantasy’. Through Jacques Rancière’s and Slavoj Žižek’s theoretical lenses, the article explores how the RapX fantasy produces subjectivity not only through young people’s political identity claims for ethnic, racial and gender equality, but also by offering a ‘solution’ to – by healing and concealing – the lack of equality in Western post-politics societies. In addition, the article shows how subjectivity within and in opposition to ideological hegemony in the film is driven by affects such as enjoyment and shame. The article argues that the RapX fantasy not only de-politicizes young people’s political struggle for equality across intersecting identity hierarchies, but also, through the commodification of ethnic otherness, (re)produces enjoyment in embodying a symptom of the lack of national social cohesion.

doi:10.1057/sub.2015.20.

PDF: https://link.springer.com/content/pdf/10.1057/sub.2015.20.pdf

Gad, Ulrik Pram. ‘From Flip-Flopping Stereotypes to Desecuritizing Hybridity: Muslims as Threats and Security Providers in Danish Broadcast Drama Series’. (2017) [PDF]

Gad, Ulrik Pram. ‘From Flip-Flopping Stereotypes to Desecuritizing Hybridity: Muslims as Threats and Security Providers in Danish Broadcast Drama Series’. European Journal of Cultural Studies, vol. 20, no. 4, Aug. 2017, pp. 433–448.

Muslims are making their way into filmed entertainment in Hollywood and Europe. Critical reception has uniformly acclaimed the quantitative progress, however, disagreeing on the quality of the representation. One position laments how the increased representation of diversity is structured by negative stereotypes; another is encouraged by how the very same stereotypes are ironically taken to extremes. Bearing in mind the intimate relation between identity and security, however, the stereotypical representation of difference is never innocent. The overall narratives of Danish public service broadcast series such as The Killing, Government and The Protectors rely on stereotypical security policy narratives identifying Muslims as threats. Even when stereotypes are creatively articulated to reverse the negative valuation, Muslim roles are distinctly charged or ‘securitized’ when compared to non-Muslim roles. However, placing the ‘Muslim’ character centre stage allows a separate level of representation of a distinct role in the way stories articulate stereotypes, facilitating hybrid identities.

doi:10.1177/1367549415603378.

PDF: https://www.researchgate.net/publication/283187095_From_flip-flopping_stereotypes_to_desecuritizing_hybridity_Muslims_as_threats_and_security_providers_in_Danish_broadcast_drama_series.

Frello, Birgitta. ‘Sporløs–Om Biologi, Identitet Og Slægten Som Fjernsyn [Find My Family-On Biology, Identity and Kinship on Television]’. (2011) [PDF]

Frello, Birgitta. ‘Sporløs–Om Biologi, Identitet Og Slægten Som Fjernsyn [Find My Family-On Biology, Identity and Kinship on Television]’. MedieKultur: Journal of Media and Communication Research, vol. 27, no. 51, 2011, pp. 19-p,

DR har i de senere år lanceret flere programserier, som har slægt og slægtsforskning som fokus. Slægtsprogrammer er ’godt fjernsyn’ i den forstand, at de giver mulighed for en umiddelbar identifikation med hovedpersonen, samtidig med at dennes historie kan bruges som løftestang for andre historier. Imidlertid anlægger programmerne en vinkel på slægten, som forudsætter, at et øget kendskab til den biologiske slægt automatisk medfører et øget kendskab til den personlige identitet. Denne selvfølgeliggørelse af den biologiske slægts betydning problematiseres i artiklen, og med udgangspunkt i Sporløs diskuteres mulige implikationer og konsekvenser af den forståelse af slægten, som programmerne tager udgangspunkt i og tager for givet.

PDF: https://tidsskrift.dk/mediekultur/article/download/4073/5038.