Use this URL to cite or link to this record in EThOS:
Title: Masculinity and gear fetishism in audio technology community discourse
Author: Annetts, Alex
ISNI:       0000 0004 6349 5135
Awarding Body: Anglia Ruskin University
Current Institution: Anglia Ruskin University
Date of Award: 2015
Availability of Full Text:
Access from EThOS:
Full text unavailable from EThOS. Please try the link below.
Access from Institution:
This thesis is a study of audio technology community discourse and its historical features. I contend that the audio technology domain is fundamentally exclusive and hierarchically stratified, based on discursively inscribed prerequisites to participation and enunciation, notably a hegemonic masculine performance, gear fetishism and the articulation of technical knowledge. I show that communities organised around audio technology, socially construct and perpetuate these features as components of their respective discourses. I expose all three elements to be rooted in culturally embedded gender stereotypes, dating back to a nineteenth century dichotomy of public and private space. I present a deconstruction of the complex discursive performances of masculinity and offer opportunities for privileged masculine recordists to critically reflect upon their dominance and homogeneity within the domain as an original contribution to knowledge. In this endeavour, I investigate the emergence and development of exclusive tropes as components of audio technology culture, and demonstrate how they continue to be perpetuated in the face of both social and technological developments that offer possibilities to destratify the community hierarchy and enunciative function. My methodology is based on a comparative discourse analysis of industry and academic texts, as well as the communities that surround and influence the construction of modern audio technology discourse. Case studies are conducted of two leading industry publications: Tape Op and Sound On Sound, and supplemented by an exploration of Women's Audio Mission. I combine these sources with interview material gathered from relevant industry professionals. In doing so, I observe how the audio technology community has maintained barriers to participation, often in the face of technological progress that offers supposed opportunities for democratisation. My work presents an argument against this notion, exposing the supposed democratisation as an illusion of accessibility and thus as mere massification.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available