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“To Be as Real as Possible”: The Actor-Network of Status YO! and the Production of HipHop Authenticity

“To Be as Real as Possible”: The Actor-Network of Status YO! and the Production of HipHop Authenticity

Markus Spöhrer
Copyright: © 2017 |Pages: 18
ISBN13: 9781522506164|ISBN10: 1522506160|EISBN13: 9781522506171
DOI: 10.4018/978-1-5225-0616-4.ch010
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MLA

Spöhrer, Markus. "“To Be as Real as Possible”: The Actor-Network of Status YO! and the Production of HipHop Authenticity." Applying the Actor-Network Theory in Media Studies, edited by Markus Spöhrer and Beate Ochsner, IGI Global, 2017, pp. 156-173. https://doi.org/10.4018/978-1-5225-0616-4.ch010

APA

Spöhrer, M. (2017). “To Be as Real as Possible”: The Actor-Network of Status YO! and the Production of HipHop Authenticity. In M. Spöhrer & B. Ochsner (Eds.), Applying the Actor-Network Theory in Media Studies (pp. 156-173). IGI Global. https://doi.org/10.4018/978-1-5225-0616-4.ch010

Chicago

Spöhrer, Markus. "“To Be as Real as Possible”: The Actor-Network of Status YO! and the Production of HipHop Authenticity." In Applying the Actor-Network Theory in Media Studies, edited by Markus Spöhrer and Beate Ochsner, 156-173. Hershey, PA: IGI Global, 2017. https://doi.org/10.4018/978-1-5225-0616-4.ch010

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Abstract

In this chapter an effort is made to describe the film production network of the German “HipHop film” Status YO! (Till Hastreiter, 2004) and the related attribution and production of “authenticity”. However, film production will neither be considered a process in which human entities are the sole manufacturers of a stable cultural artifact. Nor will film production be reduced to the classical triad of preproduction, shooting and postproduction. Rather, from an ANT perspective, the production of a film is a continuous process of translation, inscriptions and negotiations that exceed postproduction. Additionally, a multitude of heterogeneous actors are involved in this processual production of the film and authenticity respectively, such as academic writing, audience responses, film critical reception, historical and cultural discourses, and also other films.

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