Cultural Studies Research
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Research is a central part of Cultural Studies work at all levels. Cultural Studies lecturers are all actively researching in areas of contemporary culture, and even from their first year at university students are encouraged to apply the methods and theories of the world's leading Cultural Studies writers so that they can analyse and interpret their own cultural environment.
The essays contained here represent all levels of courses. They are high-quality work, and all gained high marks. However, they have not been edited or enhanced for inclusion on this website; the intention is to give a representation of what can be achieved even in undergraduate research essays.
The essays are copyright, the intellectual property of the students who wrote them, and any quotations must be properly referenced and, if necessary, used with the writer's permission (available through culturalstudies@canterbury.ac.nz). Remember that this material is owned by the students who wrote it, exactly as if it were published in a print-culture journal or magazine. These essays are free for you to read, but NOT to present as your own; we know you'll respect the generosity of these young scholars who have put their work on-line; give them the credit they deserve!
View Cultural Studies UC Research Profile.
100 Level Students
At first-year level, students were required to -
- Choose one example of cultural or subcultural capital which has become prominent in Christchurch in the last few years, and analyse how it has been exploited through the media and advertising.
The principle of cultural capital had been covered in detail in lectures and tutorials, as well as in the course textbook. Sarah Forgan chose to write about the local underground heavy metal scene, an excellent idea because it is clearly a subculture (opposed to mainstream culture) with cultural values of its own (very different from mainstream or 'dominant' values). As well as obviously being very knowledgeable about the subject, Sarah shows a lot of enthusiasm for it, and the essay is a good illustration of how Cultural Studies work can be personalised--with the writer's cultural position and point-of-view clearly written into it-but without sacrificing the careful attention to detail and evidence that gives most of the force and substantiation to the argument. Everyone knows Shihad, but do you know the wider black/death metal scene of AotearoaNZ? Check it out at http://www.supermetal.net/. Here is Sarah Forgan on Subcultural capital in the Christchurch underground heavy metal scene.
200 Level Students
A couple of years earlier, second year students were asked to write about a New Zealand nostalgia text, which could be a printed, visual, or musical text. They were referred to Claudia Bell's book, Inventing New Zealand , which discusses various ways that nostalgia permeates our culture. It was suggested that the essay might discuss a written text, a series of brochures ('History Repeats itself on the Christchurch Historic Tramway'), a museum-style display (Ferrymead), an advertising series (ANZ Magic Minutes or Kiwi Kids are Weetbix Kids) or even a short film or music video (Zeal Man or the Finns).
An excellent and original essay on this topic came from Melissa Kennedy, 'Marketing Our Heritage: Dynamics of Commercial Enterprise and Nostalgia by DB Breweries Ltd in the DB Draught Clydesdales'. This is a good example of how precise and scholarly Cultural Studies analysis can be done on apparently 'trivial' everyday objects that we may take for granted, or at least not normally think about in any depth. Since Melissa wrote this essay, a page on the DB horses has appeared at http://www.rarebreeds.co.nz/pirongia.html . Melissa's essay is on-line at http://www.otago.ac.nz/DeepSouth/vol3no3/db.html
300 Level Students
In CULT301, the final year core paper, students investigate particular fields of cultural production and consumption, for example, a games arcade, a website or set of linked websites, a night club, a sports event/s or venues, fans and/or participants in particular sporting or leisure activities, a working men's club, the Antarctic Centre, a skate boarding facility, a literacy programme, a public or private art gallery, a massage parlour, a talk-back radio programme, a martial arts school, a Maori theatre initiative, a video outlet, a hairdressing salon, a tattoo shop, a shopping mall, a museum, an alternative dance group, a fashion boutique and workshop, a television station, a city arts/leisure magazine, a night club, or a movie theatre. Student projects entail fieldwork relating to the particular site, a set of practices or collection of written or visual texts, the application of cross-disciplinary frameworks, and active theorising and practical research skills.
Jan Lloyd chose to write on 'culture jamming', which had been the subject of a very controversial film at a recent Christchurch festival. The essay is distinguished, especially in its first half , by a very strong theoretical foundation, evidence of a student who has read far beyond the required course readings. Since Jan wrote this essay, culture jamming has received heaps of academic and internet attention, as in The Pyrotechnic Insanitarium, Sniggle Theory, and http://it.stlawu.edu/~advertiz/jamer/TITLEPAG.HTML. Adbusters magazine is the node for culture jamming discussion. The title of Jan's essay is Culture Jamming: Semiotic Banditry in the Streets.
As well as individual projects, some Cultural Studies courses encourage group work. In 2002, three students in CULT301 with significantly different academic backgrounds, discussed a collaborative project analysing aspects of SCAPE, the second biennial Art and Industry exhibition of public art in Christchurch. The group was initially briefed by Deborah McCormick, the project director, who visited the university, explained the history of the project, distributed publicity and literature, and answered questions. She was also available to students for information as the research developed. The students mainly worked on their own, but met from time to time to discuss progress, problems, and any issues of overlap. The final submission involves a jointly written portfolio preface, followed by a research essay by each of the three students:
Investigating Scape: Arts and Industry Biennial 2002
- Kate Montgomery, Elaina Hamilton and Eric Forster, 2002. Portfolio Preface.
- Kate Montgomery, 2002. Art & Industry: A Contemporary Visual Art Festival.
- Elaina Hamilton, 2002. SCAPE - Art and industry: urban (e) arts.
- Eric Forster, 2002. The extent to which the art works in Scape: Arts & Industry Urban Arts Festival 2002 are likely to be accessible to a general audience.
The following images occur in the Art and Industry portfolio essays:
- Michael Parekowhai
Born 1968, New Zealand, Nga - ariki, Ngati Whakarongo
Cosmo and Jim McMurtry (2002), Maquettes
Photograph: Diederik van Heyningen
Thanks to Raymond de Clifford for montage.
- Evan Webb , Kites (2000).
Born 1952, New Zealand.
Performance, New Brighton Beach, Christchurch.
Specially fabricated micron polythene recycled plastic (black)
Scotts Sled Kites, 1000mm x 545 mm.
Photograph: Ross Coombes.
- Nathan Coley
Born 1967, United Kingdom
Places Where Something Has Happened (2002)
7 digital colour prints
600 x 700 mm
Mounted on temporary plywood wall, 2.44m x 8.4 m
Photograph: Johannes van Kan.
- Pauline Rhodes, Ziggurat 2000 (2000)
Born 1937, New Zealand.
Waimakariri River stone filled gabions, 10 m sq x 5m high.
Photograph: Ross Coombes.
- Nathan Coley
Born 1967, United Kingdom
The Black Maria (2002)
Painted wood, steel and scaffolding
8500 x 4000 x 5500 mm
Photograph: Johannes van Kan.
- Whare (2002)
Tent structure: canvas and galvanised steel
2,250 x 4000 mm
Projections: Four data projectors, four DVD players, two speakers and an amplifier.
Image Shows:
Rachael Rakena
Born 1969, New Zealand, Ngai Tahu, Nga Puhi
Mihi Aroha, (2002)
DVD Video
Running time: 2 minutes.
Photograph by Paul Ogier.
- Tony de Lautour
Born 1965, New Zealand
Monument (2002)
Silver, silver plated bronze, wood
255 mm high; base 240 mm in diameter
Designed by the artist, hand raised and chased in silver by Nicola Roake
Photograph: Diederik van Heyningen.
400 Level Students
Cultural Studies Honours students are required to do a whole research paper, a mini-thesis on a topic of their own choice but within a specified area. As with a thesis, students meet regularly with a supervisor who reads and discusses drafts of the work, and suggests appropriate theoretical readings. It is becoming a highly-recommended practice to develop this research paper as a pilot project to test the viability of a MA or PhD project they may have in mind for the following year.
Sharon McIver is the first student ever to register a PhD thesis in Cultural Studies in this country, researching on contemporary New Zealand music. At Honours level in 2001, she worked towards this with an outstanding research paper on 'Locating a sense of place: the representation of landscape and culture in a selection of New Zealand music videos.' As with other essays on this page, Sharon's essay is copyrighted in the author's name and must not be quoted without her permission.
