Vine Racial Comedy as Anti-Hegemonic Humor: Linguistic Performance and Gene

摘要

This paper analyzes the semiotic features and sociopolitical commentary of anti-hegemonic Vine racial comedy in videos of Viner King Bach. The following analysis demonstrates that Vine racial comedy is heavily influenced by the generic features of African American stand-up and sketch comedians and existing multimodal genres of online discourse, but King Bach's adaptation of these features to the unique affordances of the Vine platform situates Vine racial comedy beyond the boundaries of the genres it draws on. Analysis of this digitally mediated multimodal discourse demonstrates that, while not deterministic, the medium through which discourse is constructed can significantly impact how a discourse genre is conceptually understood by expanding the semiotic resources through which the sociopolitical and discursive goals that define a genre are accomplished.

Citation: Calhoun, K. (2019). Vine Racial Comedy as Anti‐Hegemonic Humor: Linguistic Performance and Generic Innovation. Journal of Linguistic Anthropology, 29(1), 27-49.

跨學科：語言人類學、幽默研究

• 文獻回顧：概念化

• 種族幽默

• 反霸權的種族喜劇

• 兩種類型的社會政治幽默：霸權和反霸權

• Santa Ana, O. (2009). Did you call in Mexican? The racial politics of Jay Leno immigrant jokes. Language in Society, 38(1), 23-45. 

• 少數種族群體的刻板印象通常是霸權種族幽默的基礎

• 反霸權種族幽默旨在通過批評種族刻板印象、構建替代敘事以及提供被關於種族群體的霸權話語本質化而抹去的信息來反駁或複雜化種族刻板印象

• Gilbert, J. R. (2004). Performing marginality: Humor, gender, and cultural critique. Wayne State University Press. 

• Weaver, S. (2010). The ‘Other’laughs back: Humour and resistance in anti-racist comedy. Sociology, 44(1), 31-48. 

• Online discourse Genre

  • Reaction Gif

• Highfield, T., & Leaver, T. (2016). Instagrammatics and digital methods: Studying visual social media, from selfies and GIFs to memes and emoji. Communication research and practice, 2(1), 47-62. 

• • Twitter“標籤激進主義”即利用社交媒體的功能來解決社會政治問題——已被用來引起人們對用戶認為主流媒體不准確或不充分報導的社會問題的關注3

• Brandt, J., & Kizer, S. (2019). From street to tweet: Popular culture and feminist activism. In Feminist theory and pop culture (pp. 139-154). Brill. 

• Freelon, D., McIlwain, C. D., & Clark, M. (2016). Beyond the hashtags:# Ferguson,# Blacklivesmatter, and the online struggle for offline justice. Center for Media & Social Impact, American University, Forthcoming. 

• Juris, J. S. (2016). Reflections on# Occupy Everywhere: Social media, public space, and emerging logics of aggregation. In Youth, space and time (pp. 385-414). Brill.

• • Vine在2012-2017促成了短影音作為一種在線話語類型的流行

• 問題意識

  • 本文描述了 King Bach 將現有種族喜劇類型和在線話語的特徵改編為 Vine 平台的技術功能，以創造一種獨特的在線視聽喜劇類型。證明了反霸權的 Vine 種族喜劇的創作取決於 Vine 平台的共存——它的可供性和用戶與之創造的文化——美國黑人反霸權幽默的傳統，以及各種類型的在線話語。 

  • 與所有在線話語一樣，對其所包含的語言和社會文化現象的理論理解有助於更好地理解語言的社會文化功能以及話語如何通過新的交流技術發生變化。 

• Data

• 許多用戶創造性地模仿或改編了現有流行Vine的風格（類似抖音！）

  • 可識別的類型/pattern開始出現

  • Thomas Sanders Story Time

• 方法

  • KOL: Viner King Bach 

    • 選擇原因：I selected King Bach and his videos for analysis because of his status as the most-followed Viner, the frequency with which he appeared in other Viners’ videos as a collaborator, and the large number of his vines that I personally found interesting or entertaining compared to those by other Viners. （超級沒有說服力）

  • 基於Discourse的在線民族志

  • 2013 年 7 月 1 日至 2015 年 10 月 31 日期間發布的Vines（總共 481）進行飽和抽樣來創建我的數據集

  • 每個影片至少包含 Carpio ( 2008 )、Rahman ( 2004 ) 以及 Rickford 和 Rickford ( 2000)確定的黑人敘事單口喜劇的兩個特徵

  • 第二次抽樣

    • 選擇標準是每個視頻都必須以某種方式明確涉及種族或民族

• 編碼

• 三列系統轉錄數據。從左到右，列代表演員（包括不說話的演員）；手勢、面部表情、場景描述或其他視覺提示；和line (speech and non-speech)。

• 語音轉錄主要遵循 Du Bois 等人的慣例。( 1993 )，它使用標準正字法和範圍廣泛的符號來捕捉非語言聲音。