If food studies is an inherently interdisciplinary field of enquiry, communication is central to its uptake in any scholarly context, for food is inherently relational, symbolic, and deeply cultural, a powerful discourse in its own right and imbricated in a host of other discourses. Accordingly, while food studies is a relatively new area of study within the communication discipline, scholarship in that vein has had rather seamless entrée into the broader scholarly arena and has proliferated along the same general lines of investigation that characterize the field in general. Originally rooted in cultural anthropology, early studies of the cultural significance of food assessed how food both reflects and accomplishes social identity and status, a focus that has been sustained and expanded in more contemporary studies as relevant to how food signals and mobilizes particular identities, such as race/ethnicity, nation, class, gender, and sexuality. Matters of identity are sometimes apparent in studies of the role(s) of food in global flows, including globalization, colonization, immigration, diaspora, and tourism. Much of this scholarship also or instead takes up food in terms of production and consumption, assessing the politics, economics, and geographies of food. Endeavors in this vein, in global, national, and local contexts, examine food policies and patterns of industry and how they privilege certain interests while disenfranchising others: food safety, security, and justice feature prominently in these investigations. These motifs are reflected, as well, in scholarship that examines social movements around food that seek to disrupt or resist problematic industry and farming policies and/or practices as relevant to, for example, environmental exigencies, animal welfare, eradication of the local, and availability of and/or access to safe, healthy foods. The mediation of food is perhaps a natural subject of study for communication scholars, ranging from representations of food in film to food packaging and advertising. The recent rise of “foodie” culture has generated a proliferation of media fare, signaled by indices ranging from the now recognized genre of “food films,” to multiple television networks devoted to food, to the rise of “celebrity chefs”; food is, moreover, an increasing presence on the Internet, proliferating especially across social media. The imaginaries of authenticity and egalitarianism and the materialities of class that frequently drive foodie culture have been the focus of much of this scholarship, and they have been further identified as figuring prominently in urban practices ranging from the establishment of farmers’ markets to gentrification. Even within the communication discipline, food studies is a wide-ranging topic, but it is not simply a diverse subject of study for communication scholars. The inherently liminal and malleable nature of food renders it difficult if not impossible to engage or theorize in terms of conventional binaries or rifts that characterize many if not most fields, such as subject/object and self/other; perhaps most salient for the communication discipline, food denies the particularly nettlesome materiality/discursivity binary. Accordingly, food studies holds considerable promise for the field relevant to theoretical innovation and expansion.
Helene A. Shugart
The critical study of cultural and creative industries involves the interrogation of the ways in which different social forces impact the production of culture, its forms, and its producers as inherently creative creatures. In historical terms, the notion of “the culture industry” may be traced to a series of postwar period theorists whose concerns reflected the industrialization of mass cultural forms and their attendant marketing across public and private spheres. For them, the key terms alienation and reification spoke to the negative impacts of an industrial cycle of production, distribution, and consumption, which controlled workers’ daily lives and distanced them from their own creative expressions. Fears of the culture industry drove a mass culture critique that led social scientists to address the structures of various media industries, the division of labor in the production of culture, and the hegemonic consent between government and culture industries in the military-industrial complex. The crisis of capitalism in the 1970s further directed critical scholars to theorize new dialectics of cultural production, its flexibilization via new communications technologies and transnational capital flows, as well as its capture via new property regimes. Reflecting government discourses for capital accumulation in a post-industrial economy, these theories have generally subsumed cultural industries into a creative economy composed of a variety of extra-industrial workers, consumers, and communicative agents. Although some social theorists have extended cultural industry critiques to the new conjuncture, more critical studies of creative industries focus on middle-range theories of power relations and contradictions within particular industrial sites and organizational settings. Work on immaterial labor, digital enclosures, and production cultures have developed the ways creative industries are both affective and effective structures for the temporal and spatial formation of individuals’ identities.
John O. Greene
Longstanding interest in communication skill and communication competence is fueled by the facts that people do differ in their social proficiency and that the quality of one’s communicative performance has significant impact on professional and personal success and satisfaction. The related terms “communication skill” and “communication competence” are first defined and distinguished. With this conceptual framework in place, consideration is then given to: (1) taxonomies of interpersonal communication skills, (2) properties of behavior associated with greater effectiveness and appropriateness, (3) the process of adult communication skill acquisition, (4) barriers and impediments to competent communication, (5) essential elements of skill-training programs, and (6) methods of skill and competence assessment.
Comparative research in journalism studies typically involves systematic comparison of two or more countries or territorial entities with respect to some common dimension (e.g., journalistic practices, orientations, and cultures). Early works in this tradition can be traced back to the 1930s, but it was not until the late 1990s that cross-national research gained popularity in the field. Comparative journalism studies have historically evolved and developed around four distinct but partly overlapping paradigms: the United States and the rest (1950s–1960s), the North and the South (1970s–1980s), the West and the West (1980s–2000s), and the West and the world (2000s–2010s). In all these eras, comparative journalism researchers have focused on three topical areas: journalists’ professional orientations (journalistic roles and professional ethics), the contexts of news production (influences on news work and their subjective perception), and news cultures (normative and empirical analyses of press systems and journalistic cultures). Overall, a growing awareness of the advantages of comparative research has led to an explosion of these studies since the turn of the century. Comparative journalism research has thus become a principal avenue of study in the field, and it has meaningfully contributed to both knowledge about journalism and the formation of journalism studies as a discipline.