"clothing retail store BUYMA recently produced a creative commercial that strictly wants you to buy their clothes. Since Japanese TV programs are legally obligated to cover sensitive body parts, BUYMA uses drones to fully censor two professional belly [sic] dancers while they dance their routine naked."
[This Buyma ad which was created for television clearly plays with concepts around censorship - both in the context of Japanese broadcast media and perhaps more importantly in the context of social media where it will likely have most traction. In doing so the ad playfully references contemporary restrictions in place on sites such as Facebook.]
"This article studies an interesting Internet phenomenon known as Human Flesh Search which illustrates the far-reaching impacts of the Internet that is less documented. Due to its huge threat on individual privacy, human flesh search has introduced huge controversy and invited heated debate in China. This paper reviews its growth, explores the impetuses, identifies the distinctions from the alternative search engines, and summarizes the benefits and drawbacks. Furthermore, the paper develops a systematic review of the prior literature in human flesh search by surveying major sources such as academic journals, national and international conferences, and public and private databases. Finally, the paper identifies five research gaps in the literature and offers an initial interpretation and analysis of these remaining research issues. Human flesh search is still growing and the current study helps the computing field learn the past and present of this emerging phenomenon and properly manage its future development."
(Rui Chen and Sushil Sharma, 2011)
Rui Chen and Sushil Sharma (2011). Journal of Information Privacy and Security, Volume 7, Issue 1, 2011, pages 50-71.
"Luis Buñuel's The Phantom of Liberty was quickly dismissed upon its release in 1974. Not only did it have to contend with the lingering success of 1972's similarly themed but significantly less abstract The Discreet Charm of the Bourgeoisie, but it was quickly followed by the dreamlike, bi–polar romantic entanglement of the director's last film, That Obscure Object of Desire. Like Discreet Charm, the plot–free Phantom of Liberty is a patchwork of comedic sketches and sight gags through which Buñuel ravages a complacent European culture and the various sexual hang–ups and historical and cultural disconnects of its inhabitants. This heady, almost off–putting masterwork isn't particularly easy to decipher (maybe we aren't meant to), which is why it's best to approach it as a literal comedy of manners.
Films structured around daisy chains of dysfunction are a dime a dozen; most, though, are as tiresomely long–winded as they are content with their own strained circularity. This isn't the case with Phantom of Liberty, which begins with a shot of Goya's 1808 masterpiece 'The Third of May.' The painting depicts Napoleon's army executing a group of faceless Spaniards, and via a reenactment of this struggle, Buñuel depicts how one of Napoleon's captains tries to defile the monument of Doña Elvira only to be smacked on the head by the moving arm of the statue of the woman's husband. (He later intends to sleep with the woman's corpse, and when he opens her coffin, he's amazed by how her beauty has been preserved.) It's the first of many sight gags in the film, each and every one as startling as they are perversely funny. All these moments are possessed by a sense of shocked wonderment and discovery, and they all more or less evoke fragile pasts and characters trying to reconcile their historical detachments."
(Ed Gonzalez, 13 September 2003, Slant Magazine)
"The first item to come out of the social media trends box is that this will be the first British royal wedding to be streamed live on the web, and this list goes on. As it will also be the first to have a mobile application; and the first with a soundtrack to be released on iTunes within hours of the ceremony. The Palace has been open to Universal Music Group, and its Decca record label, which plans to release the soundtrack of the wedding ceremony, on iTunes and later as a CD. In return Universal has promised a donation to charity.
A British Royal wedding is normally associated with pomp, tradition and a stiff upper lip, but now through technology it is interactive, cross–platform,multimedia, multichannel, hyperlinked,24/7, user–generated, search–engine–optimised, downloadable extravaganza! Yes, the Royals are embracing social media trends galore. There is an official website, Facebook page and of course Twitter feeds all for the big 'W'."
(Sangeeta Haindl, 6 April 2011, Justmeans)
"[Mikhail] Bakhtin's concept of carnival as a subversive, disruptive world–upside–down event in which the repressive views, lies, and hypocrisy of the officially run and dominated everyday world are unmasked provides a powerful theoretical concept for any study of Iranian popular theatrical and related musical forms. Bakhtin was concerned with polyvocality and the fact that from the onset of the European Renaissance the voices of the common people were increasingly not heard. The Islamic Republic's ban on the performance of improvisational comic theater would seem to support this theoretical stance with empirical evidence of official reaction. In the European context analyzed by Bakhtin, a writer, exemplified by Rabelais, enacts an important role because he or she reflects the voices of the low, the peasant, the outcast. In Bakhtin's view, the healthy voice of the low, which questions the high–the church and the state–is an important check on oppressive officials in a healthy society.
A full–fledged carnival–such as those in Rio de Janeiro and New Orleans–does not exist in the Iranian culture sphere. By carnival I mean a massive demonstration of excessive eating, drinking, and sexual and bodily exposure, popularly associated with Carnival in Rio de Janeiro, that does not occur within an Islamic/Iranian context. Threads and themes of carnivalesque and grotesque subversion, however, can be found woven through the fabric of the Iranian world. Here the needle that pricks the official religious, social, and political powers most is the traditional comic theater in its many guises.
In many ways siyah–bazi and ru–howzi embody Bakhtin's notions of the grotesque and the carnivalesque. Gholam–siyah, the blackface clown, the 'low Other,' always wins over his master: the world upside down. Gholam–siyah's extravagant clothing, movements, speech, and lower–class language demonstrate Bakhtin's dictum, 'the grotesque...cannot be separated from folk humor and carnival spirit' (Stallybrass and White 1986, 43). Gholam's bright red costume and conical hat, for example, are probably the closest thing to carnival costume in the entire Middle East. William O. Beeman, a scholar of Iranian linguistics, discusses the blackface clown: 'The clown distorts normal physical movement by jumping, running, flailing his arms, and twisting his body into odd shapes' (1981, 515). This is, of course, part of his repertoire, for sight gags make up much of the comedy of traditional comic theater. This grotesque twisting of the body is also part of the dancing that occurs in the comic theater, especially by the male characters."