Northern Lights: Film & Media Studies Yearbook - Current Issue

The timing of Matt Reeves’s The Batman (2022) situated the film as a symbol of and response to the social troubles that resulted from the political unrest in 2020 and 2021, presenting solution-driven rhetoric amidst the numerous public crises in American discourse and identity. Captured and represented in his opening prologue speech in juxtaposition to his rhetorical culmination speech, Batman’s orations mirror his own arc and the politically prescribed reawakening of confidence in political figures and institutions. Paralleling his addresses, the evolution of Batman’s excessive violence when he initially works under the identity of ‘Vengeance’, compared to his subsequent performance as a first responder at the end of the film, serves as a rhetoric of redemption for first responders. Multiple scenes focus on Batman’s learning to recognize humans’ need for compassion as he becomes a student of social progress. Working as a unifying symbol of a diverse leader, Gotham’s newly elected mayor, Bella Reál, simultaneously offers a vision for transitioning away from leaders associated with racist and sexist discourse. With Batman’s rhetorical culmination and transformation into an emergency rescuer, The Batman serves as unifying verbal and visual discourse in response to contemporary political unrest.

Life is Strange is a modern classic of storytelling in games that allows players to make consequential choices at the level of action as well as at the level of narrative. But does it also allow players to play as their authentic selves, or does it constrain them within frameworks of ethics that are assumed by its authors? This study uses an approach that combines elements of ludology, the focus on games as systems that are altered by players through a mechanistic interface, and the application of structuralist narratology. The latter allows us to textually analyse Life is Strange as a case study of a progression game with emergence characteristics, in which mechanics are treated as functional units of narrative. In addition, we draw from a unique quantitative source. Every choice made by players of Life is Strange is recorded and available to see in the public domain. This allows us to compare the narrative structure encoded into the game at the level of action, with the choices players made at the level of narrative. The outcome shows that players subverted hegemonic expectations, within affordances created for them by the game developers, demonstrating an unexpected level of player agency.

Nowadays, the spectator lives surrounded by television series in which increasingly complex, depressing and denouncing themes proliferate. About this, the Netflix hit Squid Game (2021) is a clear representation of a mass culture increasingly virtuous in staging, as well as more horrifying, preachy and sensationalist. Based on the observation of the phenomenon that the series has meant, narrative content analysis has been carried out in which we have sought to find evidence of how mainstream culture continues to popularize and stylize audio-visual abjection in the context of the third golden age of television and the fascination with the plots of torture porn or postmodern cinema of cruelty. The results show that Squid Game is a faithful product of its time: as a current prestige series, it is dark, depressing, pessimistic and has an artistic aura without neglecting entertainment and explores human complexity in themes such as suicide, genocide and violence.

This article focuses on the recent Russian and Serbian pop-political entanglement. Russians usually rely on hard-power elements like military, energy and economics, but in the last several years they became active as sport club sponsors, telecommunication provider’s partners and film producers. The article examines the latter phenomenon of increasing presence of Russian characters within Serbian media culture, whether it is domestic, Russian or American production, like in the case of Stranger Things, where a Serbian actor Nikola Đuričko plays a Russian smuggler. The central figure though is young actor Miloš Biković, hired many times by Russian film producers in the last decade. His film The Balkan Line (2019) is examined in this article as a representative of Russian soft-power influence as well as their geopolitical stance. The Balkan Shadows (2017–present) and Stranger Things (2016–present) are analysed as pro-western counterparts in this superpower struggle within Serbian media culture.

In today’s media landscape, concepts like Americanization and professionalization of politics are evolving, driven by technological advancements and social media usage. The internet has transformed political communication, emphasizing emotional appeal and user response, leading to a rise in politainment and celebrity politicians. This shift towards ‘pop politics’ blurs the line between entertainment and information, with virality and humour playing key roles. This study conducts a semiotic-narrative analysis of unofficial social media profiles of Spanish political representatives, examining their language, content, and usage patterns resembling fan communities. Parodic Twitter profiles of prominent figures like Pedro Sánchez, Yolanda Díaz and Isabel Díaz Ayuso, along with Ada Colau's Instagram account, are analyzed. The findings reveal a trend towards employing politainment strategies to engage social media users, fostering emotional connections akin to non-political fan communities.

The proliferation of political memes in recent years allows us to assume that they are a new tool of political communication and that social networks increase the possibilities for civil society to express opinions and intervene in the debate on matters of public interest. This article aims to examine the memes that have been disseminated on Twitter since the beginning of the COVID-19 pandemic in South Africa in the wake of the president’s speeches to the nation to discover whether one can speak of a political rhetoric in memes and their argumentation. To this end, the research uses a qualitative-quantitative approach to classify the taxonomy of memes according to their content, combining the thematic classification of memes and the typology of images in digital discourse to discover the existence of the use of popular political rhetoric. The final sample comprises 351 memes, and the analysis shows that they used humour as a means of escape rather than as an effective way of sending political messages. Thus, the results reflect the existence of a resignification of popular culture that transcends memes as persuasive elements based on the inertia of popular rhetoric in contemporary political communication.