This article has three aims. First, it introduces the scientific field of bioculturalism, or evolutionary psychology, within the context of film and media in Norway. Second, through textual analysis it applies some of the key concepts and insights of bioculturalism on a specific case: the uniquely popular, Norwegian drama series Himmelblå (NRK, 2008–2010). The specific point of interest is the peculiar way in which this series interprets the notions of mating, femininity and masculinity. Himmelblå is at one and the same time a satirical commentary on a certain dominance of female values in todays sex pattern, and an example of how culture in interplay with biology guides the viewer when making life choices. Third, the article uses this case of blurred boundaries between biological and ideological impulses in our media reception to encourage further research within the field of bioculturalism – a hitherto neglected focus of interest among Norwegian film and media scholars.
In the digital age, the dynamics of political scandals are intensified as a result of three key factors: the development of online media and 24 hour deadlines, the use of opinion polls and user-generated content in media coverage, and increased personification in political journalism. A recent scandal, illustrating these developments, is the Ramin-Osmundsen case, which resulted in the resignation of the first female cabinet minister with an ethnic minority background. The article places this political scandal in a context of national and international research on political scandals, and investigates its peculiarities and characteristics. The analysis draws on interviews with journalists, as well as content analysis of press -coverage in online and print -media.
Massive Multiplayer Online Roleplaying Games (MMORPGs) have gone from sub to mainstream culture in the space of the past decade, showing play as social and diverse. Looking at play as a continuous process, I analyse how the practice of play is shaped not just by design, but also by the context in which it is played. Based on qualitative interviews with a group of powergamers, defined by their instrumental approach to the game, I investigate the ways in which these players negotiate their time-consuming play style with their everyday lives.