Journal articles on the topic 'Culture, representation and identity'
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Alavi, Samad. "Iranian Culture: Representation and Identity." Iranian Studies 49, no. 6 (November 2016): 1099–103. http://dx.doi.org/10.1080/00210862.2016.1241629.
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Kalua, Fetson. "Race and ethnicity: culture, identity and representation." Scrutiny2 20, no. 1 (January 2, 2015): 147–49. http://dx.doi.org/10.1080/18125441.2015.1042685.
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Müller, Péter P. "Self‑representation and identity: Hungarian drama as a representative of national culture." Politeja 11, no. 28 (2014): 63–82. http://dx.doi.org/10.12797/politeja.11.2014.28.03.
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Dorzhi Dondokovich, Dondokov. "LINGUISTIC PERSONALITY REPRESENTATION VS. IDENTITY REPRESENTATION." Humanities And Social Studies In The Far East 17, no. 1 (2020): 11–15. http://dx.doi.org/10.31079/1992-2868-2020-17-1-11-15.
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The paper gives a brief overview of studies on identity representation and linguistic personality representation. The author justifies the choice of using linguistic personality as a tertium comparationis in comparing languages and cultures of East Asia with other languages and cultures
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Teik, Ong Cheng. "Representation of Culture, Gender and Identity: An Analysis of Stella Kon’s Emily of Emerald Hill." International Journal of Languages, Literature and Linguistics 3, no. 3 (September 2017): 143–48. http://dx.doi.org/10.18178/ijlll.2017.3.3.124.
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Li, Jia, Juan Dong, and Wei Duan. "Identity Options and Cultural Representations in English Textbooks Used in Cambodia." Asian Social Science 15, no. 11 (October 21, 2019): 60. http://dx.doi.org/10.5539/ass.v15n11p60.
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Language textbooks play an important role in bridging learners’ understanding between the source culture and target culture. This study explores how the Cambodian and foreign characters are produced and how the source and target cultures are represented in three English language textbooks published by the Cambodian Ministry of Education, Youth and Sport (MoEYS). The data were collected from textbook passages, exercises and images presented in the textbooks and the data were analyzed based on the emerging themes in language and cultural representations of the textbooks. The findings indicate that regarding the distribution in the target communities, Anglophone and their postcolonial countries are prominently highlighted in the textbooks with the exception that Japan is exclusively introduced as imagined interlocutor for cultural communication; concerning the representation of the source culture, Buddhism and Khmer are constructed as legitimate forms of Cambodian practices. Based on the findings, we argue that English textbooks produced in Cambodia have not provided Cambodian youth with balanced exposure of cultural diversity. The study has implications for designing English textbooks with the consideration of diverse identity options and cultural representations.
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Holmes, John. "Culture and Identity in Rural Africa: Representation Through Literacy." Language and Education 22, no. 6 (December 1, 2008): 363. http://dx.doi.org/10.2167/le813.0.
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Holmes, John. "Culture and Identity in Rural Africa: Representation Through Literacy." Language and Education 22, no. 6 (October 24, 2008): 363–79. http://dx.doi.org/10.1080/09500780802152747.
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Morris, Christine Ballengee, and James H. Sanders. "Culture, identity, representation: the economic policies of heritage tourism." International Journal of Education Through Art 5, no. 2 (December 1, 2009): 129–42. http://dx.doi.org/10.1386/eta.5.2and3.129/1.
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Pritchard, Annette, and Nigel J. Morgan. "Culture, identity and tourism representation: marketing Cymru or Wales?" Tourism Management 22, no. 2 (April 2001): 167–79. http://dx.doi.org/10.1016/s0261-5177(00)00047-9.
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Лебедев, Владимир Юрьевич. "CONFESSIONAL DYNAMICS: RELIGIOUS IDENTITY AND SUSTAINABLE DERIVATIVE PATTERNS OF CULTURE." Вестник Тверского государственного университета. Серия: Философия, no. 4(58) (December 29, 2021): 141–49. http://dx.doi.org/10.26456/vtphilos/2021.4.141.
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Статья посвящена анализу изменения роли конфессиональной традиции и конкретных форм ее выражения применительно к религиозной самоидентификации личности в социальном поле миноритетных, сокративших долю своего присутствия конфессий, прежде всего католицизма римского обряда. За несколько десятилетий ХХ в. поле соответствующей конфессиональной культуры, конфессионального праксиса сократилось настолько сильно, что ознакомление, обязательное для ситуации идентификации, лишь в меньшем числе случаев опирается на первичные тексты, аккумулирующие фундаментальные черты конфессии - ритуал сам по себе, литургические, катехитические, богословские тексты. Их место все чаще занимают вторичные паттернизированные представления, создаваемые под влиянием искусства, публицистики. В результате должно возникнуть неизбежное и заметное расхождение между реалиями конфессионального бытия, конфессионального праксиса и приблизительными, а оттого неэвристичными культурными паттернами, способными при этом сохраняться устойчиво, превращаясь в культурные предрассудки. В ситуации постсоборных реформ расхождение реальности и вторичных паттернов становится еще более сложным и драматичным для субъекта, поскольку вторичные паттернизированные представления все же в большей степени ориентированы на традиционный облик конфесии, пусть и с внесением массы упрощений и ошибок. Культурный шок при переходе от конструирования вторичных паттернов к знакомству с модернистскими изменениями становится очень сильным, порождая дополнительные идентификационные затруднения, растерянность, переход в религиозные группы, так или иначе сохранившие традиционный конфессиональный облик. The paper sets out to analyze the dynamics of the confessional tradition and its forms of representation from the perspective of religious self-identification of an individual in the social field of significantly contracted minority confessions, speaking first and foremost of Roman Catholicism. Over the last decades of the XX century the area of the above mentioned confessional culture and praxis has contracted dramatically making identification less and less relying on primary texts that accumulate fundamental features of the confession such as the ritual, liturgy, catechistical and theological texts. Such primary texts are being gradually replaced with secondary patterned representations made up under the influence of arts and journalism. It will inevitably result in a significant divergence of confessional reality, confessional praxis and vague, and therefore nonheuristic, culture patterns demonstrating nevertheless the ability to sustain and transform into cultural prejudices. In the context of postsynodical reforms the divergence of reality and secondary patterns further aggravates compounding the situation for an individual as secondary patterned representations still look up to a traditional representation of a confession even though contaminated by simplifications and errors. Culture shock intensifies at the transition from acquiring secondary patterns to introduction to modernistic changes. This situation breeds additional identification problems, including confusion and migration to religious groups having to some extent preserved traditional confessional representation.
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Sohail, Muhammad, Ghulam Ali, Javed Rashid, Israr Ahmad, Sultan H. Almotiri, Mohammed A. AlGhamdi, Arfan A. Nagra, and Khalid Masood. "Racial Identity-Aware Facial Expression Recognition Using Deep Convolutional Neural Networks." Applied Sciences 12, no. 1 (December 22, 2021): 88. http://dx.doi.org/10.3390/app12010088.
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Multi-culture facial expression recognition remains challenging due to cross cultural variations in facial expressions representation, caused by facial structure variations and culture specific facial characteristics. In this research, a joint deep learning approach called racial identity aware deep convolution neural network is developed to recognize the multicultural facial expressions. In the proposed model, a pre-trained racial identity network learns the racial features. Then, the racial identity aware network and racial identity network jointly learn the racial identity aware facial expressions. By enforcing the marginal independence of facial expression and racial identity, the proposed joint learning approach is expected to be purer for the expression and be robust to facial structure and culture specific facial characteristics variations. For the reliability of the proposed joint learning technique, extensive experiments were performed with racial identity features and without racial identity features. Moreover, culture wise facial expression recognition was performed to analyze the effect of inter-culture variations in facial expression representation. A large scale multi-culture dataset is developed by combining the four facial expression datasets including JAFFE, TFEID, CK+ and RaFD. It contains facial expression images of Japanese, Taiwanese, American, Caucasian and Moroccan cultures. We achieved 96% accuracy with racial identity features and 93% accuracy without racial identity features.
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Pan, Yi-ling. "From Taiwan New Cinema to Post-New Cinema: The Transition of Identity in Cape No. 7 and the Naming Issue of Post-New Cinema." Open Cultural Studies 5, no. 1 (January 1, 2021): 284–94. http://dx.doi.org/10.1515/culture-2020-0130.
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Abstract In 2008, Taiwan’s cinema began to get back on its feet after an extended lull, with several directors successively releasing critically acclaimed first works. Compared with the well-known Taiwan New Cinema, this new film trend works within the conventions of genre and often focuses on local issues and ordinary life. In doing so, critics and scholars call it Post-New Cinema. Yet, its naming brings difficulties to our understanding on this epoch-making wave, since it neither intends to innovate the paradigm and the framework established by New Cinema, nor does it completely inherit the legacy left by it. Therefore, these uncertain interpretations motivate us to review the legitimacy of this naming. This essay will evaluate firstly the genealogy from the Taiwan New Cinema to the Post-New Cinema in aesthetic and historical–cultural representation, to further propose the paradox about the naming of Post-New Cinema. Secondly, we attempted, by comparing the two most representative films of the two periods, Cape No. 7 and A City of Sadness, an initial look at the transition and the transformation in terms of aesthetical demonstration, historical representation, and ethnic politics, to argue that a subtle change in identity has been created in Taiwanese cinema since 2008.
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Pushonkova, O. A. "SEMANTIC MODEL OF MODERN GENDER IDENTITY: TEXTS AND CONTEXTS." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 43–47. http://dx.doi.org/10.17721/ucs.2018.2(3).08.
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Revealing of the logic of representations in culture is the basis of the modern visual literacy formation. Doubts about the potential of visual information as a reliable source of authenticity, require inclusion of other modes of reality perception, contextual expansion of the very concept of visuality, and interaction with different discourses. The questions of how the evaluation guides of the modern era change the visual language, how its contexts and texts are formed, and, in particular, how it affects the formation of modern gender identity, are acquiring actuality. The gender issue, being a field of interdisciplinary research, most clearly presents changes in the methods of visualization and modeling of reality, therefore, serves as a representative base of the material. Visual gender images show changes in the deep layers of culture, and gender studies are transformed along with changes in cultural field and capture the very nature of cultural change. The visual representation of femininity and masculinity represented in culture is based on the metaphor of sex, appealing to archetypes, the oldest ideas of men and women. Visual representations of gender in culture show a wide range of identification practices, from artificial and distorted corporeality to the return of the "natural body". In the context of modern studies of gender visual representations, we have to identify their connection with the dynamic changes in the structure of identity (fragmentation, mimicry, drifting) and with changes in the cultural codes of corporeality. It is proved that in the conditions of destruction of representative systems it makes sense to speak not only about the specifics of femininity and masculinity, which by losing self-sufficiency are curtailed in selfie-projects, but also about the general repressed subject of culture which lies in the "scissors" of new formats of discipline power: coercion and temptation. The screen demonstrates perfect “human-thing” with a blurred gender identity (new androgen), which keeps the attention, fixes it on itself as a narcissistic selfie-project that absorbs the views of others around through different techniques. It was found that the formation of gender identity changed the nature of sample imitation (as it was before) and acquired the character of simulation, where evaluative independent attitude towards the world or a narcissistic choice in the context of a hedonistic-oriented culture is possible. This arch for samples remains at the deep level of collective symbols and archetypes, which should become the subject of further developments.
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Strelitz, Larry. "Biography, Media Consumption, And Identity Formation." Qualitative Sociology Review 4, no. 2 (August 31, 2008): 63–82. http://dx.doi.org/10.18778/1733-8077.4.2.03.
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This paper proposes that the biographical or narrative interview is an important method in exploring the relationship of media consumption to identity formation. The paper takes issue with those theorists who place media consumption at the centre of identity formation processes. Rather, in line with the work of British social theorist John Tomlinson, the paper argues the need to see the relationship between media and culture, in the process of identity formation, as an interplay of mediations between cultureas-lived-experienced and culture-as-representation. On the one hand we have the media, representing the dominant representational aspect of modern culture while on the other we have the lived experience of culture which includes the discursive interaction of families and friends and the ‘material-existential’ experiences of routine life. Our media consumption choices and the meanings we take from the media are shaped by these lived cultural experiences while the media we consume also impacts on how we make sense of these experiences. The paper argues that the narrative or biographical interview is a useful way to explore this interplay of mediations in the process of identity formation.
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Skardhamar, Anne Kari. "Changes in Film Representations of Sami Culture and Identity." Nordlit 12, no. 1 (February 1, 2008): 293. http://dx.doi.org/10.7557/13.1346.
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My intention is to analyse changes in ideas and discursivestrategies in selected films from 1929 to 2007 as regardsrepresentations of Sami culture and Sami identity in Finnmark. In different ways the films indicate a conflict of cultures and point to problems of exploitation of indigenous peoples, which may be regarded as part of Nordic colonialism.The emphasis will be on Lajla (1929) and the prize-winningVeiviseren (1987). The story of the young girl Lajla is told from a non-Sami point-of-view, and the mode of representation of otherness is of importance. In 1937 an abbreviated version of Lajla by the same director was presented, and a comparison of the two versions will show changes in the representation of ethnicity. Per Høst's narrative documentaries Same-Jakki (1957) and SamiÆllin (1972), seen from an ethnic Norwegian perspective, will briefly be discussed and compared to the ideas and discourse in Lajla.The action film Veiviseren (The Guide) (1987) by Nils Gauprepresents a totally different perspective by focusing on power relations, religious attitudes and ethical values. The language of the film is Sami. Finally, Gaup's most recent film, Kautokeinoopprøret (Kautokeino riot) (2007), a narrative based on historical events, will be briefly discussed.
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Fajar, Dwi Ario. "REPRESENTATION OF THE HYBRIDITY OF JAVANESE WOMEN IN THE “TILIK” FILM." Premise: Journal of English Education 11, no. 3 (October 31, 2022): 545. http://dx.doi.org/10.24127/pj.v11i3.5430.
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In the era of globalization, foreign and local cultures meet each other. The meeting caused some controversy regarding the existence of local culture and identity. Globalization will undoubtedly affect the position of the Javanese and their identity now. The Javanese now are hybrid Javanese who can take and accept and filter cultures outside of Javanese culture. Javanese women face more problems than Javanese men. Javanese women face patriarchal domination and the problem of Javanese women's identity in the era of globalization. The film "Tilik" is a short film that went viral during the Covid-19 pandemic. This film represents hybrid Javanese women present in the life of Javanese society today. The purpose of this study is to explain how Javanese women, like hybrid Javanese, can overcome all currents of globalization by absorbing, mixing, following, and modifying cultures outside Java without abandoning the noble values of Java. This research method uses descriptive qualitative with critical discourse analysis. The results show that Javanese women are hybrid women formed from various cultures and globalization but still adhere to Javanese cultural values in their daily lives.
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Sreepada, Nihar, and Gabriel Domínguez Partida. "Exploring affect, identity, and populism in and around Todd Phillips’ Joker." Revista Panamericana de Comunicación 4, no. 2 (December 16, 2022): 177–93. http://dx.doi.org/10.21555/revistapanamericanadecomunicacin.v4i2.2713.
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Cultural identity has become a fluid concept in which several positionalities converge; most of them are influenced greatly by popular culture, causing a constant individual negotiation between their real lives and the image on the screen. In 2019, Todd Phillips’s Joker achieved worldwide success not only at the box ofce but also in critical appraisal. Unlike previous representations of this villain as a disruptive social persona, Joker showed the main character as a political fgure that gives agency and voice to the people who are socially repressed. The impact of this representation transcended Anglo cultures to the extent of symbolizing a populist uprising and a growing antigovernment sentiment. Nevertheless, this fgure’s appropriation brings twoproblematic ideological standpoints to the goal these groups aim: violence as the only alternative to restoring equality in society and color blindness that silences the struggles that cultures face depending on their context.
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Chapman, Madeleine. "Representation and resistance: A qualitative study of narratives of Deaf cultural identity." Culture & Psychology 27, no. 3 (April 5, 2021): 374–91. http://dx.doi.org/10.1177/1354067x21993794.
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This qualitative study examines narratives of identity among deaf adults in Denmark who were raised within the Bilingual–Bicultural programme of education. At a time of threat to sign language and the Deaf community, the study explores the distinctiveness of a minority cultural identity rooted in sign language and elaborated through Deaf norms and values. Applying the social psychological theories of social identity and social representations, the analysis shows that while Deaf identity is developed through and against forces of marginalisation and the medicalising system of representation that cochlear implants reify, it both celebrates Deaf culture and embraces cross-cultural dialogue and exchange. The findings run against existing models of deaf identity that posit discrete Deaf (immersive) and bicultural identities. They also disclose the importance of studies of social identity that retrieve the theory’s original emphasis on cultural systems and context to explain identities and intergroup dynamics. Finally, the study has resonances for disability and other minority studies and movements that seek to pay attention to socially creative processes of critiquing normativity and enlarging understandings of culture and identity.
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Timashova, Maria V. "Personal Freedom and Identity Representation Performance in Modern Urban Subculture." Materials Science Forum 931 (September 2018): 770–75. http://dx.doi.org/10.4028/www.scientific.net/msf.931.770.
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Conglomerations of modern cities are becoming increasingly fractional/disintegrated. An urban person turns into a special type of a person called “homo urbis”, capable of living in a "stone jungle" of performance, in a dense concentration of urban culture objects and amongst the most heterogeneous human mass. The modern civilizational paradigm predetermines the dynamics of the processes of socio-cultural personal identity formation performance in urban culture environment, as well as its globalization and glocalization. The very phenomenon of personal identity in modern urban culture falls into the spectrum of multiple "identities", its evolutionary and critical performance processes. All socio-cultural and civilizational interactions of urban cultural environment are mixed up in existential contradictions. Clear and distinct bases of the traditional world are giving way to civilizationally complex chaos, diverse cultural multilayer and their intricate interlacement. The coexistence of numerous axiological patterns, stereotypes, narratives and metanarratives of the city result in colossal ideological and spiritual tension, where a person has been considered the core of the concentration of the crisis problems since the Socratic anthropological turn. In this connection, the problem of determination and creation of an urban personality, by all means, should be supplemented with the most important heuristic and ontological component – the search for personal identity, as the correlation of the ever-forming civilizational mass of existence with the process of self-reflection of an individual.
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Triary Hardy, Marco, and Daniel Susilo. "Jakarta’s urban culture representation on social media @jakarta_tourism: A semiotics analysis." Simulacra 5, no. 1 (June 24, 2022): 29–43. http://dx.doi.org/10.21107/sml.v5i1.13648.
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Social media can form the identity of the representation content. The content of the Instagram account @jakarta_tourism represents the identity of the urban culture of Jakarta as a tourism brand. This study aims to find out and reveal the representation of Jakarta as a city of urban culture, based on the signs from the content of the Instagram account @jakarta_tourism. This study is descriptive qualitative using the constructivist paradigm using the semiotic analysis method by Roland Barthes. The main focus of the semiotic analysis by Roland Barthes is to find the meaning of denotation, connotation, and myth of a sign. The results in this study indicate that some content of the Instagram account @jakarta_tourism represents Jakarta as a city of urban culture and highlight that as part of the brand of Jakarta Tourism. That was revealed after this research analyzed using syntagmatic and paradigmatic studies on posts of Instagram account @jakarta_tourism to find the meaning of denotation and connotation/ myth. As for the myth, it is shown that the concept of urban culture is closely related to acculturation forms of urban culture and urban society and space to express various arts and cultures.
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Kristi, Kristi. "Sinetron Leads to Negotiation of Identity: Christian Identity and the Representation of Religion in Indonesian Popular Culture." Al-Albab 7, no. 2 (January 13, 2019): 137. http://dx.doi.org/10.24260/alalbab.v7i2.1024.
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Having Pancasila as its ideology, with its first pillar of Ketuhanan yang Maha Esa (the belief in one deity), Indonesia is neither based on a certain religion, nor giving a privilege to a certain religion. In the context of the resurgence of religion, Islam obviously becomes the only normative in everyday life, including in popular culture. This paper analyzes the way Indonesian Christians see the representation of religion in sinetron, the television soap opera tat is considered the predominant form of popular culture in Indonesia, and negotiate their identity as religious minority. The work is based on a research project conducted in Gereja Kristen Jawa (GKJ/Christian Church of Java) Gondokusuman in Yogyakarta. A random survey about sinetron titles watched by the embers of the congregation show that eight titles are popular. A more intensive questionnaire is distributed to the church council as the representation of Christians who are active in church activities. It is also intended to show the most-watched sinetron in 2017. From the survey, there are two most watched sinetron: “Tukang Ojek Pengkolan” (TOP/Motorcycle-taxi Driver on the Corner) and “Dunia Terbalik” (DT/Upside-down World). Eighteen people who watch both TOP and DT then were interviewed. Using the framework of first generation of reception study, the work finds that Christians’ reception on the representation of religion in sinetron can be categorized into three patterns: mirror of reality, watching for pleasure, and religion is necessary. Those three patterns show that Christians’ reception is in negotiation position.
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Pratiwi, Theodesia Lady. "Cultural Representation in English Course Books for Junior High School." JOURNAL OF ADVANCED ENGLISH STUDIES 3, no. 1 (February 29, 2020): 38. http://dx.doi.org/10.47354/jaes.v3i1.80.
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Language cannot be separated from culture, thereby, learning a language must involve learning its culture. Course books as one of the elements of English Language Teaching (ELT) can be one of the media to accommodate cultures. This study is a qualitative content analysis which specifies on summative content analysis. Two series of English course books were selected by employing purposive sampling, namely When English Rings a Bell (WERB) and Bright. Three units in each course books were selected by employing systematic random sampling. The results show that culture in WERB and Bright is represented in the form of source culture, target culture, and international culture. WERB and Bright mostly represent the source culture. This study argues that the high representation of source culture is affected by the adoption of 2013 curriculum syllabus to build students’ identity. Although the target culture and international culture is very lowly represented, it may provide some opportunities for the students, especially for Junior High School Students, to start building their cultural awareness and intercultural competence.
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Aoumeur, Hayat, and Melouka Ziani. "Representation of Culture in EFL Textbooks: A Linguistic and Content Analysis of My Book of English." Arab World English Journal 13, no. 2 (June 24, 2022): 282–96. http://dx.doi.org/10.24093/awej/vol13no2.19.
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This study explores the representation of culture in My Book of English, a second-generation English-language book for the first-year middle school in Algeria. Based on both content and a linguistic analysis method, our objective was to demonstrate the cultural significance of some representational choices. The notion of ideology was exploited in this study to examine the part that language takes in perpetuating ideas about culture, multiculturality, diversity, nationalism, and identity. According to the findings, cultural and social representations capture both the tendencies of cultural heritage preservation and the promotion of innovation and change. The analysis demonstrates that My Book of English acknowledges, to a certain extent, the role that English plays in the processes of internationalization and globalism. However, as a foreign language material, the book exaggeratedly highlights the source culture, making it difficult for the learners to transcend national boundaries
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Johnson, Adeerya. "Hella Bars: The Cultural Inclusion of Black Women’s Rap in Insecure." Open Cultural Studies 6, no. 1 (January 1, 2022): 76–87. http://dx.doi.org/10.1515/culture-2022-0144.
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Abstract The musical supervision of HBO’s insecure sonically maps various representations of Black women’s connections to hip-hop music as a site of autonomy, agency, and authenticity. Importantly, the variety of Black female rappers who are featured in seasons 1–3 of insecure connects nuanced and contemporary representations of Black millennial women’s understanding of Black womanhood, sex, friendship, love, and relationships. I argue that the influence of Issa Rae’s perception and connections to hip-hop and the placement of songs in insecure supports a soundtrack that takes on a hip-hop feminist approach to Black popular culture. I explore contemporary female hip-hop artist as an emerging group of rappers who support nuanced narratives and identities of Black millennial women. Furthermore, this article highlights the connectedness of Black popular culture and hip-hop feminism as an important site of representation for Black women who use hip-hop as a signifier to culture, self-expression, and identity. I recognize the importance of insecure’s soundtrack and usage of Black women in hip-hop to underline the ways hip-hop sits at the intersections of race, sexuality, and gender for Black women’s everyday lives.
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Putri, Rizki Amalia. "Study of Pasuruan Batik with Jawi Temple Motif by UKM Sekar Wangi Sejati Cultural Anthropology Approach." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 2 (November 16, 2018): 86. http://dx.doi.org/10.31091/lekesan.v1i2.498.
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Studying culture is endless because each culture will change along with current development. Gradual change causes the function of culture has shift or it increases the function for people. A culture that has shift in function aspect is object of Jawi Temple from Pasuruan. Jawi Temple is a tourist destination. It was a part of Singhasari Kingdom. At that time, the function of the Temple was to worship then became the place for Shinghasari King’s ash. Function shift of Jawi Temple is to become tourist object and one of object for Batik motif of Pasuruan Batik that uses local wisdom object. Function shift was studied by researcher using empirical approach with data of documentation and observation. The research problems were showing form of Jawi Temple Batik (semiotics), batik motive as function to introduce culture and history and Jawi Temple batik as cultural reflection. Cultural reflection from created motif had representation of culture and history or site in Pasuruan such as Jawi Temple, ornament motif of chrysanthemum flower, podang bird, Harmoni Building and betel leaf as icons. Representation identity through batik motif can raise tourism indirectly and become introduction of knowledge through Temple motif of Batik. People also can clearly know that batik is a representation identity in Pauruan that has many cultures.
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Volokitina, N. А. "The ethnic culture and the representation of ethnic identity through the internet." Человек. Культура. Образование, no. 3 (2019): 39–45. http://dx.doi.org/10.34130/2223-1277-2019-3-39-45.
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Rogal, Maria. "Identity and Representation: The (Yucatec) Maya in the Visual Culture of Tourism." Latin American and Caribbean Ethnic Studies 7, no. 1 (March 2012): 49–69. http://dx.doi.org/10.1080/17442222.2012.658296.
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Dexl, Carmen, and Katrin Horn. "“Beef Jerky in a Ball Gown”: The Camp Excesses of Titus Andromedon in Unbreakable Kimmy Schmidt." Open Cultural Studies 1, no. 1 (December 20, 2017): 442–53. http://dx.doi.org/10.1515/culture-2017-0041.
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AbstractIn this essay, we look at Titus Andromedon from the Netflix-sitcom Unbreakable Kimmy Schmidt (2014-) as a singular phenomenon in contemporary TV: a black queen whose use of camp distances him from stereotypes, but connects him with audiences. Titus thus not only adds to a more diverse representation of black experience on TV but also interrogates prevailing TV tropes. Titus thus presents a crucial (and critical) addition to the contemporary TV landscape, to which several TV critics in leading media outlets have recently attested a turning point in the representation-both in quantity and quality-of black characters on big and small screens. Titus breaks with historical traditions of African American representation in the sitcom, both in so-called “black sitcoms” with a majority of African American characters and in white sitcoms which have featured people of color as sidekicks. In addition, Titus picks up on gay sidekicks and their relation to female lead characters, whose dynamics are interrogated through Titus’s growing agency as a character in his own right. Titus expands on these novelties in meaningful ways, as he wholeheartedly embraces his queer identity and furthermore offers a running commentary on other characters’ “white nonsense,” thereby clearly refusing the assimilationist tendencies typical for much of “Post-Cosby”-sitcom black representation. This article therefore claims that Titus’ character relies on camp in his balancing act between comic relief, affective centering, and critical distance, and illustrates this by analyzing the specific techniques of Titus’ critical engagement with stereotypical representation of gay and black TV characters.
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Chairiyah, Sri Zul. "Political Identity and Citizenship Participation (Representatives) in Politics by Minangkabau Women in Post-2019 Election." Politik Indonesia: Indonesian Political Science Review 5, no. 1 (April 16, 2020): 139–55. http://dx.doi.org/10.15294/ipsr.v5i1.21725.
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This research aimed to describe the identity politics and citizenship of Minangkabau women, towards the political participation (representation) of Minangkabau women in the post-2019 election. Minangkabau women have 2 identities, in adat (matrilineal system) women have rights that are equal to men in decision making, while in religion (patrilineal system), women are not one of the main elements in decision making. In citizenship, community still applies a patriarchal culture that is rooted and dominates. These two identities have a major influence on the political representation of Minangkabau women, where identity politics and citizenship are attempts to understand the relationship of these two concepts to the involvement of Minangkabau women in political representation in each election. The research used aqualitative method with individual analysis. This research was conducted in West Sumatra Province. These two factors influence the political representation of Minangkabau women in West Sumatra. The temporary conclusion showed that the low political representation of Minangkabau women in legislative institutions is not because of identity politics but because of patriarchal culture is still rooted and dominates in the community especially in West Sumatra.
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Purwaning Tyas, Agnes Siwi. "Identifikasi Kuliner Lokal Indonesia dalam Pembelajaran Bahasa Inggris." Jurnal Pariwisata Terapan 1, no. 2 (March 1, 2017): 38. http://dx.doi.org/10.22146/jpt.24970.
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This study is aimed at identifying the representation of local foods and beverages in English textbooks used in Indonesia. Based on the current curriculum, character building should be promoted as one of the learning goals. This effort is to maintain and strengthen students’ cultural roots and identity in this globalized world. The integration of local culture in the textbooks will help to provide exposures of both cultures and facilitate cultural dissemination of both local and global values. The result of content analysis on 36 English textbooks used in elementary schools to senior high schools in Indonesia shows how the spoken and written texts accommodate the promotion of Indonesian local cultures, particularly the local culinary. The texts mention the names of several local foods and beverages from Indonesia, such as nasi goreng, bakmi, soto, gudeg, rica-rica, klepon, and es palu butung. Based on the questionnaire results, the representation of local culinary in the textbooks can promote local identity, disseminate culture, and promote local tourism. However, the integration is still considered insufficient to disseminate the culture and promote local identity because the books have not accommodated all cultural elements in Indonesia.
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Batool, Javairiah, Amber Hafeez, and Safia Siddiqui. "An Analysis of the Representation of Hybrid Culture and Transculturalism in Jean Rhys’s "Wide Sargasso Sea"." Journal of Social Sciences Review 2, no. 4 (December 30, 2022): 19–26. http://dx.doi.org/10.54183/jssr.v2i4.45.
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The current investigation utilizes textual analysis approach on Jean Rhys’s Wide Sargasso Sea in the light of Transculturalism theory proposed by Jeff Lewis (2012). This study paves the way to provide hybridity as a product of culture and touches the theme of transculturalism which is compatible with globalization. This analysis explores the complexity of hybrid culture and how this culture prompts the racial identity. It is shown that hybridity is an alleged myth on which western culture is dominant. Wide Sargasso Sea gives the complete depiction of West Indies and it tells about the emancipation act of 1833 as well. It also describes few deep elements by mentioning characters who become the victim of this complexity. Doubtlessly transculture frees the human from boundaries and make the human as boundless entities with unique cultures but this concept “having no boundary” creates a lot of problems and the most imperative fact is “complexity of identities”. This study concludes with the assertion that hybrid culture prompts the racial identity.
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Hussain, Zakir, and Binod Mishra. "Who Am I?: Re-envisioning the question of Muslim identity in Tariq Ali’s The Stone Woman and A Sultan in Palermo." Ars Aeterna 14, no. 2 (December 1, 2022): 37–51. http://dx.doi.org/10.2478/aa-2022-0010.
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Abstract This article examines Tariq Ali’s novels The Stone Woman (2000) and A Sultan in Palermo (2005) to critique the question of identity discourse by drawing inspiration from various cultures rooted in a distinctively Islamic landscape and culture. Muslim identity, like any other, is separately constructed and determined by language, religion, sect, and various other roles. It examines the creation of Muslim identity and strives to comprehend the segregation they have demonstrated in the postcolonial context. This identity discourse emerged in colonial discursive practices that positioned Muslims as “Other” under colonial rule. This paper draws upon theoretical concepts of postcolonial theory to challenge the stereotypical representation of Islam often circulated in Eurocentric discourses. We do this by focusing on Tariq Ali’s ways of constructing Muslim identities through fictional representations. Through this discussion, we critique stereotypical tropes evident in Eurocentric discourses, which too often conflate professions of Muslim identity with religious fundamentalism.
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Thomas, Lyn. "In Love with Inspector Morse: Feminist Subculture and Quality Television." Feminist Review 51, no. 1 (November 1995): 1–25. http://dx.doi.org/10.1057/fr.1995.30.
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This article consists of textual analysis of a highly successful television series, Inspector Morse, combined with qualitative audience study. The study of Morse and the fan culture surrounding it is presented in the context of a discussion of recent feminist work on the texts and audiences of popular culture. The textual analysis focuses on those elements of the programmes which contribute to its success as ‘quality’ television, and particularly on Morse as an example of the role played by nostalgic representations of Englishness in ‘quality’ media texts of the 1980s. The article goes on to discuss whether the presence of such representations in these programmes leads inevitably to a convergence of ‘quality’ and conservative ideology. The discussion of the ideological subtexts of the programmes then focuses on the area of gender representation, and on the extent to which feminist influences are discernible in this example of quality popular culture, particularly in its representations of masculinity. The second part of the article presents an analysis of a discussion group involving fans of the series, which was organized as part of a larger qualitative study of the fan culture surrounding the programmes. There is a detailed discussion of the impact of the social dynamics of the group on their readings of Morse. The analysis also focuses on the ways in which the discourses identified in the textual analysis, such as gender representation, quality and Englishness, are mobilized in talk about the programmes. Finally, the nature of the group made it possible to discuss the construction of a feminist subcultural identity in talk about a mainstream media text, and to identify irony and critical distance as key components of that identity, particularly in the discussion of the pleasures offered by the romance narratives of the programmes.
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Горнова, Галина Владимировна. "THE CONFLICT OF URBAN IDENTITY: VISUAL ASPECTS." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(25) (September 18, 2020): 27–40. http://dx.doi.org/10.23951/2312-7899-2020-3-27-40.
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В статье анализируется визуальная репрезентация конфликтности городской идентичности. Городская идентичность понимается как одна из граней личностной идентичности, существующей в синхроническом и диахроническом единстве. Теория социальных ролей позволяет исследовать синхронический аспект городской идентичности, выделить «транспортные роли» горожанина, конфликтные аспекты «транспортной идентичности». Отмечается актуализация конфликтности городской идентичности в синхроническом аспекте при резких и непоправимых изменениях в городской среде. Конфликтность влияет на отчуждение человека от города, на разрушение его городской идентичности. Диахронический аспект городской идентичности тесно связан с мемориальной культурой, которая содержит широкий спектр идентификационных выборов. Визуальные репрезентации мемориальной культуры влияют на становление городской идентичности, на формирование устойчивых представлений человека о себе как о жителе определенного города, на ценностное переживание своей связи с городом. The article analyzes the visual representation of the conflict of urban identity. Urban identity is understood as one of the facets of personal identity that exists in the synchronic and diachronic unity. The theory of social roles allows exploring the synchronic aspect of urban identity, highlighting the “transport roles” of the city dweller and the conflicting aspects of “transport identity”. The conflict of urban identity in the synchronic aspect is actualized with sharp and irreparable changes in the urban environment. The conflict affects people’s alienation from the city, the destruction of their urban identity. The diachronic aspect of urban identity is closely related to memorial culture, which contains a wide range of identification choices. Visual representations of memorial culture influence the development of urban identity, the formation of people’s stable representations about themselves as residents of a certain city, the value experience of their connection with the city.
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Berchtel, Sandra. "Identity, Cultural Representation and Feminism in the Movie Head-On." CINEJ Cinema Journal 1 (August 4, 2011): 126–39. http://dx.doi.org/10.5195/cinej.2011.9.
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The movie Head On (2004) from the director Fatih Akin draws the attention of the audience to Turkish women living in Germany. It portrays how some women have to struggle with Turkish traditions and identity problems, living in a modern capitalistic country but being surrounded by Turkish culture. This analysis asks the question whether the movie challenges or supports feminist ideas. Therefore, the characterization, the language, the use of violence, and sexuality will be evaluated to find answers. Feminist principles and goals will help to classify my findings and examine displayed power structures, mixed messages, portrayed stereotypes, and the construction of gender.
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Tustiantina, Diana. "ASEM, SAWO, KELAPA, DAN MASYARAKAT KOTA SERANG." Paradigma, Jurnal Kajian Budaya 7, no. 1 (August 30, 2017): 1. http://dx.doi.org/10.17510/paradigma.v7i1.135.
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Representation of community identity can be displayed through the diversity of culture and traditions. The result of a growing culture one of which is the culinary community. Representation identity is shown through herbs and materials used in processing. This study tries to assess and explain the meaning through symbols and markings on the tree represents Identity society through semiotic approach Danesi and Perron (1999, 94-95), which is done through three stages: (1) denotative, (2) connotative, and (3 ) annotation. Primary data in this study is the meaning of the coconut trees, Tamarind trees and Sapodilla trees. The collection of data and information is done by library research, interviews and focus group discussions. The method used in this research is qualitative descriptive which researchers describe the findings of data and data processing. The results showed that tamarind, coconut and sapodilla be a representation of the community’s identity when it is used as a flavouring and food ingredients typical culinary of Serang city, as well as unique souvenirs of Serang city. Tamarind, coconut and sapodilla interpreted as a spice, food, and souvenirs that are typical for the Serang city. The third symbol is the representation of the identity of the Serang city as peculiar, cultural factors, and bound historical background. Representation of the identity of the Serang city can provide representation through three trees, the tamarind tree, coconut tree and sapodilla tree.
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Seleznev, I. S. "THE STRATEGY OF INDIVIDUALIZATION OF IDENTITY IN MODERN CULTURE: PHILOSOPHICAL ANALYSIS." Bioethics 25, no. 1 (May 8, 2020): 16–21. http://dx.doi.org/10.19163/2070-1586-2020-1(25)-16-21.
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The article considers the process of identity constructing in modern culture. As a result of the case analysis, the author conceptualizes the modern identity construction strategy as an individualization of identity. The worldview foundations of this strategy are revealed. It is proposed to distinguish two paradigms of identity on the basis of the function of social representation: I-as-image and I-as-symbol. The author connects the tendency of individualization and delegitimation of social institutions in modern culture with the process of transition from a symbolically oriented type of consciousness to a type of consciousness focused on figurative perception.
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Lechner, Frank J., and Anthony D. King. "Culture, Globalization, and the World-System: Contemporary Conditions for the Representation of Identity." Contemporary Sociology 21, no. 3 (May 1992): 352. http://dx.doi.org/10.2307/2076274.
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Borneman, John. "Race, Ethnicity, Species, Breed: Totemism and Horse-Breed Classification in America." Comparative Studies in Society and History 30, no. 1 (January 1988): 25–51. http://dx.doi.org/10.1017/s0010417500015036.
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Totem: the iconic representation of a specific ordering of plant and animal species. Clan: the representation of a group identity. Totemism: the relationship between totem and clan. From Emile Durkheim and his nineteenthcentury antecedents to Claude Lévi-Strauss, the discussion of totemism has addressed the way in which people classify themselves with reference to the animal and plant world. This discussion began with the observation among different exotic peoples of the widespread practice of arranging certain animal and plant species into a pattern that, while differing from culture to culture in content, seemed to indicate a consistent formal relationship between totem and clan. The iconic representation of so-called nature—the totem—seemed invariably the model for the representation of intra- or intergroup identity—for the clan.
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Hasan Hadi, Hasan. "The Piano Lesson of August Wilson as the Representation of the African Cultural Heritage." International Journal of Arts and Humanities Studies 2, no. 2 (September 19, 2022): 78–86. http://dx.doi.org/10.32996/ijahs.2022.2.2.11.
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The heritage of nations has always been a fundamental pillar of the individual’s cultural identity. The twentieth century has a great interest in cultural heritage by means of drama, as it articulates political, social, cultural, and even psychological issues under the umbrella of globalization. Afro-American playwrights have focused on cultural identity, which directly leads to their heritage, as what has been done by Wilson, who exploited his talent in dramatizing the Afro-American people’s lives. Wilson used his play to demonstrate and defend the values and culture in conflict with American and white culture, as well as to demonstrate that Afro-Americans can produce the finest literary writing to enrich American literature. So, heritage is one of the reasons for preserving individuality, as people have no identity if they do not have cultural heritage. The Piano Lesson is looking for acceptance or recognition that African culture is a part of the world’s culture that should be respected. In addition, Wilson encouraged his people to strongly seize their traditions and culture to get their identity as others, and he accomplished his mission.
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Dirlik, Arif. "Literature/Identity: Transnationalism, Narrative and Representation." Review of Education, Pedagogy, and Cultural Studies 24, no. 3 (January 2002): 209–34. http://dx.doi.org/10.1080/10714410213688.
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Howie, Gillian. "Conserving the Principle of Identity: Identity, Representation and Equivalence." Women: A Cultural Review 14, no. 2 (January 2003): 159–70. http://dx.doi.org/10.1080/09574040310103.
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Susanti, Wiwik Dwi, Muchlisiniyati Safeyah, and Fairuz Mutia. "The Formation оf Regional Identity Involves а Variety оf Different Power Relations." Journal of Architectural and Engineering Research 3 (December 22, 2022): 98–105. http://dx.doi.org/10.54338/27382656-2022.3-012.
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Currently, Sedati Regency's coastal region has undergone an identity shift. The region, which was once renowned as a representation of seaside culture, has been changed into a new official residential community. the beginning of new operations in 2018, such as the massive construction of formal settlement sites. In an effort to establish a new identity, each of these operations maintained control over coastal regions. By employing power relations analysis approaches, such as archeology and genealogy, to uncover local behavior, which in turn can establish regional identity, qualitative research techniques and data analysis can be used. According to Focault's analysis, the identity of the coastal region is changing, and the local Javanese and Madurese cultures are having an impact on the power dynamics in informal dwellings. Meanwhile, because the majority of inhabitants are diverse immigrants, power dynamics in formal housing are shaped by urban culture.
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Zaidi, Saba, and Ayesha Ashraf. "Postmodern Deconstruction of Grand Narratives in Post-Cyberpunk Fiction through Thematic Analysis." Global Language Review V, no. III (September 30, 2020): 244–57. http://dx.doi.org/10.31703/glr.2020(v-iii).25.
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The issue of identity and its representation is a constant phenomenon since the advent of humanity. Progressive waves of technological advancement in information technology have made the contemporary culture bombastic and dynamic, due to which identity and its representation have become complex. Identity and representation are no more inert; rather, they have become fluid and arbitrary phenomenon. Postmodernist literature does not only represent life and its related issue but also simultaneously deconstructs them to the core; hence there remain no center/margin dichotomies. This study is an analysis of different themes under the theoretical framework of Deconstruction of Metanarratives (1984) and Cybernetics (1948). The method of analysis is Deconstruction by Derrida (1967), from which the tool of intertextuality has helped the researchers to answer the research questions. Analysis of various themes such as Artificial Intelligence, Techno/Globalization, Cyborg, and Posthuman conclude that transition of identity is a repetitive facet of todays individual. Hence, there are no grand narratives of representations. Different identities such as race, gender, religion, human/machine, natural/artificial, physical/nonphysical, real/virtual, life/death have become contestable. This research proves that the deconstruction of metanarratives has given vent to the mini narratives.
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PARRA FERNÁNDEZ, LAURA DE LA. "BLOWING UP THE NUCLEAR FAMILY: SHIRLEY JACKSON’S QUEER GIRLS IN POSTWAR US CULTURE." Revista de Estudios Norteamericanos, no. 25 (2021): 25–49. http://dx.doi.org/10.12795/ren.2021.i25.02.
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This paper intends to analyze the representation of girlhood as a liminal space in three novels by Shirley Jackson: The Bird’s Nest (1954), The Haunting of Hill House (1959) and We Have Always Lived in the Castle (1962). Bearing in mind how nuclear fears and national identity are configured around the ideal of a safe domestic space in US postwar culture, the paper explores cultural anxieties about teenage girls who refuse to conform to normative femininity, following Teresa de Lauretis’s conception of women’s coming-of-age as “consenting to femininity” (1984). I will argue that Jackson criticizes the rigid possibilities for women at this time, and I will show how her representations of deviant femininity refuse and subvert the discourse of the nuclear family and, therefore, of the nation.
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Izrina, Svetlana O. "Representation of the Intersex Phenomenon in Contemporary Culture: Cinematic Discourse." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 5 (November 15, 2021): 80–88. http://dx.doi.org/10.37482/2687-1505-v133.
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Today, significant changes are taking place in the approach to the study of many sociocultural phenomena. Duality and polarity of their perception and analysis are being mitigated, alternative facets of the familiar and the generally accepted are coming to light, a number of “marginal” ideas are becoming the “new norm”. The research paradigm of the 20th – 21st centuries pays special attention to non-binary gender. Modern researchers focus on such issues as self-identification and search for gender identity, mechanisms of gender construction, variability of sex-role and identification models, non-conventional forms of gender identity (transgender and agender, intersexuality, etc.), as well as their representation in contemporary culture. One of such nonconventional phenomena of culture today is intersexuality, the current form of the well-known philosophical idea of androgyny. Intersex as a phenomenon of contemporary culture is considered as an element of the emerging non-binary gender system. Nowadays, intersex is not only the denomination of a person with biological characteristics atypical of the binary gender paradigm, but also the name of a distinctive culture discussing the problems of this new kind of people, who have become a significant part of our society. This article studies the representation of the intersex phenomenon in contemporary culture through the lens of cinematography. The sociocultural status of intersexuality explains the increasing quantity and thematic diversity of cinematic material. Intersexuality is a subject of active artistic reflection of many contemporary directors (L. Puenzo, C. Lavagna, J. Solomonoff, R. Féret, S. Savory, etc.), the discussion of acute social, legal and ethical problems being their focus. Thus, the leading themes are as follows: self-identification of intersex people and their search for gender identity; the problem of medicalization of intersex people and the legality of “corrective”/ “normalizing” operations from both medical and ethical points of view; parent–intersex child relationship; socialization of intersex teenagers and social acceptance of this new type of person.
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Dr. Abhishek Kumar Singh. "A Study of Popular Culture and its Impact on Youth’s Cultural Identity." Creative Launcher 7, no. 6 (December 30, 2022): 150–57. http://dx.doi.org/10.53032/tcl.2022.7.6.16.
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With the advent of technology and globalization, the level of interaction is very high, and people are close to each other, due to this the social communication and exchange of values, opinions, and cultures are at their peak. This certainly plays a very important role in the society to understand new culturism and allows people to interact and mix with people from other parts of the world, accept other cultures, and express them in a variety of ways in order to promote economic development and accelerate social and indigenous progress. Media globalization and social change accelerate the flow of information and mutual intrusions of all kinds of cultures, which results in the assimilation of culture and its values and beliefs. The majority of people in society accept mass culture under the banner of pop culture. Cultural identity is a concept that exists in today’s globalized world but may have drastic change in recent decades. Considering all these facts, youth and cultural identity are inextricably linked. In the present era, the youth represent the main idea of cultural identity as they are frequently accepting new values and cultural patterns. Modern culture is a component of social development, and the impact of globalization and the development of the information society have given social capital a new direction. The effect of changing faces of people, especially the youth, is well marked in their expression as a popular culture. Popular culture is a kind of popularized culture among the masses, which is an outcome of media and social interactions. The representation of high culture and mass culture gives a new style to the traditional concept and is represented as a popular culture in the present scenario. The youth are very prone to change and symbolize popular culture. This is largely accepted by the majority of society’s members. The current study looked at the impact of traditional and modern factors on the emergence of cultural identity in the younger generation. The current study examines the growth and development of a new culture in society based on experience and perception that strengthens the youth group’s identity. The methodology used in the study was primary.
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Mouratidis, Georgios E. "Athletes, Citizenships and Hellenic Identity during the Imperial Period." Klio 103, no. 2 (November 9, 2021): 675–703. http://dx.doi.org/10.1515/klio-2021-0008.
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Summary During the Hellenistic and Imperial periods, Greek populations coexisted with several other cultures, which were very often more multitudinous. Those ‘Hellenes’, however, came together in big Panhellenic and smaller, local festivals to honour their gods and celebrate their common Hellenic culture. As a result, numerous new festivals and contests were founded (and older ones grew bigger or were even re-founded) after the third century BC, gradually forming a large festival network. Even though this festival network has repeatedly been at the centre of scholarly attention – and still is – the rhetoric of athletic inscriptions, i.e. how athletic Panhellenism is demonstrated and what it is prompted by still remains largely unexplored. The main contribution of this paper is to demonstrate how the accumulation of citizenships by athletes contributes to Panhellenic self-representation, by showing another way that this association with Hellenic culture was communicated and negotiated in the public discourse. The portrayal of citizenships by an array of ethnic names along with the name of the honoree, presented the athlete as a larger-than-city figure and an essential part of that Hellenic community. One of the other aims of this paper is to suggest two factors in the development of these conventions of athletic representation, whose significance has not been understood in full: the athletic synod and the formation of Panhellenion. It is a central tenet of this paper that the study of citizenship in athletic inscriptions cannot only help us reveal more ways that Hellenicity was projected, but also better understand how all these different textual images helped shape views about what Hellas was.
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Doroschuk, E. S., М. H. Bayraktar, and А. A. Guseinova. "ETHNODOCUMENTARY CINEMA OF TURKIC PEOPLES AS A FORM OF ETHNOCULTURAL REPRESENTATION." Arts education and science 2, no. 31 (2022): 153–63. http://dx.doi.org/10.36871/hon.202202020.
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The article presents the analysis of the specific features of ethnic culture representation by means of Turkic-language ethnodocumentary cinema. The authors consider ethnographic film as a cultural phenomenon, emphasizing the author's intention to add the global significance and value to the reflected culture in the films under consideration, which allows it to take its place in world history and on the ethnographic map of the Earth. The author's attitude is based on personal observations, relying on collected knowledge, which has a special representative-author's character that allows to represent the unique conditions of encounter with a culture in unique circumstances. The author, on the one hand, acts as an observer of culture and, on the other hand, becomes a full participant in the reflected events, demonstrating the author's manner and interpreting not only what he sees, but ethnic culture as a whole. Ethnographic films are not always based on ethnic events, but more often on the creation of characters in the narrative, on which the author's emphasis is placed. However, performativity and eventfulness combined with imagery allow the viewer to depict the event as it is perceived based on the viewing experience. The main thing in the film is cultural identity, as expressed through a whole range of images, which leads to an understanding of ethnic identity as a special form of cultural representation of an individual. Among the main features of the Turkic-speaking ethnocumentalism are the following: the anthropological nature of the representation of a person of culture based on a detailed accentuation of everyday life; the search for similarities and differences of cultural texts, which represent traditional formats of everyday life, rituals and mentality; the interpretation of the documentary's author based on his participation in the shooting process; the peculiarities of the orientation of collective perception in the process of perceptual design in the film programme with creative use of cinema as a channel of cultural representation; the creation of a kind of navigation of screen information and social regulation of the content of an ethnofilm by involvement in the process of creating an ethnofilm; the transfer of the aura of culture based on the consonance of the aesthetics of the film with the aesthetics of culture.