{"title":"The post-villain: Ambiguous villain meets comic relief in Teen Wolf","authors":"M. Pettet, E. Ellison","doi":"10.1386/AJPC.8.1.41_1","DOIUrl":"https://doi.org/10.1386/AJPC.8.1.41_1","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48722177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In just four seasons, Rachel Bloom and Aline Brosh McKenna’s musical dramedy Crazy Ex-Girlfriend (2015-present) has established itself as an important space for contemporary explorations of gender and genre on US television. In this paper, we examine how the musical numbers operate as a feminist intervention into a postfeminist diegesis. The musical numbers in Crazy Ex-Girlfriend often parody different popular music genres by simultaneously drawing attention to and subverting their conventions. In doing so, the series critiques the gender norms of traditionally patriarchal and heteronormative Hollywood musicals and misogynistic music videos. The Hollywood film musical genre is typically framed by a tension between the narrative and the numbers. The series exploits this tension to offer a feminist critique of how patriarchal neoliberal culture encourages women to invest in romantic love and postfeminist forms of appearance-based empowerment. This paper argues that the musical numbers in Crazy Ex-Girlfriend are a feminist space where the series critiques the postfeminist reality of its diegesis
{"title":"The musical number as feminist intervention in Crazy Ex-Girlfriend","authors":"Jessica L. Ford, Phoebe Macrossan","doi":"10.1386/ajpc.8.1.55_1","DOIUrl":"https://doi.org/10.1386/ajpc.8.1.55_1","url":null,"abstract":"In just four seasons, Rachel Bloom and Aline Brosh McKenna’s musical dramedy Crazy Ex-Girlfriend (2015-present) has established itself as an important space for contemporary explorations of gender and genre on US television. In this paper, we examine how the musical numbers operate as a feminist intervention into a postfeminist diegesis. The musical numbers in Crazy Ex-Girlfriend often parody different popular music genres by simultaneously drawing attention to and subverting their conventions. In doing so, the series critiques the gender norms of traditionally patriarchal and heteronormative Hollywood musicals and misogynistic music videos. The Hollywood film musical genre is typically framed by a tension between the narrative and the numbers. The series exploits this tension to offer a feminist critique of how patriarchal neoliberal culture encourages women to invest in romantic love and postfeminist forms of appearance-based empowerment. This paper argues that the musical numbers in Crazy Ex-Girlfriend are a feminist space where the series critiques the postfeminist reality of its diegesis","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48357213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"E. Ellison, Tess Van Hemert","doi":"10.1386/ajpc.8.1.3_2","DOIUrl":"https://doi.org/10.1386/ajpc.8.1.3_2","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48862922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fashioning modernity, myth and the macabre: An examination of the function of nurses’ uniforms on screen","authors":"D. Brien, M. Mcallister","doi":"10.1386/AJPC.8.1.101_1","DOIUrl":"https://doi.org/10.1386/AJPC.8.1.101_1","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48216313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Film Screening Review","authors":"Tess Van Hemert","doi":"10.1386/AJPC.8.1.119_5","DOIUrl":"https://doi.org/10.1386/AJPC.8.1.119_5","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46498353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that, for Australian comedy series creators, the web platform has opened a new space in which the 'rules' of script development are being expanded, enhanced or otherwise refashioned through having direct connection with and input from their audience. With the audience's potential as a 'comedy gatekeeper', the web series audience becomes integral to the ways in which these texts are developed, namely skipping the erstwhile second-guessing of demographic tastes by more traditional broadcast development executives and commissioners. Referring to a range of well-known Australian comedy web series, such as Bondi Hipsters (2011-2017) and The Katering Show (2015-17) - including what their creators, writers and audiences have said about them - we investigate the processes behind the success of these series to argue that a new form of script development has emerged: namely, that development is both facilitated and influenced by the direct line that exists between comedy creators and their viewers. Furthermore, we suggest that through such a collaborative and open-access process of script development, comedy writers and performers might also benefit from an expanded form of talent development.
{"title":"The comedy web series: Reshaping Australian script development and commissioning practices","authors":"Marilyn Tofler, C. Batty, Stayci Taylor","doi":"10.1386/AJPC.8.1.71_1","DOIUrl":"https://doi.org/10.1386/AJPC.8.1.71_1","url":null,"abstract":"This article argues that, for Australian comedy series creators, the web platform has opened a new space in which the 'rules' of script development are being expanded, enhanced or otherwise refashioned through having direct connection with and input from their audience. With the audience's potential as a 'comedy gatekeeper', the web series audience becomes integral to the ways in which these texts are developed, namely skipping the erstwhile second-guessing of demographic tastes by more traditional broadcast development executives and commissioners. Referring to a range of well-known Australian comedy web series, such as Bondi Hipsters (2011-2017) and The Katering Show (2015-17) - including what their creators, writers and audiences have said about them - we investigate the processes behind the success of these series to argue that a new form of script development has emerged: namely, that development is both facilitated and influenced by the direct line that exists between comedy creators and their viewers. Furthermore, we suggest that through such a collaborative and open-access process of script development, comedy writers and performers might also benefit from an expanded form of talent development.","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43646098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"13 Reasons Why and Netflix’s commercial imperative: Disrupting screen portrayals of mental illness and suicide in Australia","authors":"F. Hopgood","doi":"10.1386/AJPC.8.1.85_1","DOIUrl":"https://doi.org/10.1386/AJPC.8.1.85_1","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45903414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Upon its 2014 release, Australian film The Babadook gained critical acclaim worldwide. While the film gathered high praise, its domestic release was impeded by a lack of marketing support, and ongoing debate about the quality of Australian horror films. By 2015, The Babadook was available to stream on Netflix in the US, and one would imagine, to gradually fade from view. Yet a seemingly innocent categorization error on Netflix in 2016, which listed The Babadook as an LGBT interest film resulted in a revival of the film’s popularity as a cult film, and the emergence of the Babadook as ‘a frightening, fabulous new gay icon’ (Orbey, 2017). This article will trace the production history of The Babadook from its theatrical release through to its Netflix premiere and the evolution of the Babadook as a gay icon. Using Jenkins, Ford, and Green’s (2013) work on spreadable media, the influence and spread of internet content will be highlighted against the backdrop of contemporary political movements. In turn I will propose a number of categories essential to gay iconography, and explore how internet cultures continually refine and expand these categories for widespread dissemination. The case study of the Babadook’s representation at American Pride Month in June 2017 will be used to illustrate the ability of internet cultures to appropriate popular culture for political impact in marginalised communities.
{"title":"Babashook: The Babadook, gay iconography and Internet cultures","authors":"Renée Middlemost","doi":"10.1386/AJPC.8.1.7_1","DOIUrl":"https://doi.org/10.1386/AJPC.8.1.7_1","url":null,"abstract":"Upon its 2014 release, Australian film The Babadook gained critical acclaim worldwide. While the film gathered high praise, its domestic release was impeded by a lack of marketing support, and ongoing debate about the quality of Australian horror films. By 2015, The Babadook was available to stream on Netflix in the US, and one would imagine, to gradually fade from view. Yet a seemingly innocent categorization error on Netflix in 2016, which listed The Babadook as an LGBT interest film resulted in a revival of the film’s popularity as a cult film, and the emergence of the Babadook as ‘a frightening, fabulous new gay icon’ (Orbey, 2017). This article will trace the production history of The Babadook from its theatrical release through to its Netflix premiere and the evolution of the Babadook as a gay icon. Using Jenkins, Ford, and Green’s (2013) work on spreadable media, the influence and spread of internet content will be highlighted against the backdrop of contemporary political movements. In turn I will propose a number of categories essential to gay iconography, and explore how internet cultures continually refine and expand these categories for widespread dissemination. The case study of the Babadook’s representation at American Pride Month in June 2017 will be used to illustrate the ability of internet cultures to appropriate popular culture for political impact in marginalised communities.","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42347299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review","authors":"Amy Boyle","doi":"10.1386/ajpc.8.1.123_5","DOIUrl":"https://doi.org/10.1386/ajpc.8.1.123_5","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42204420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Television Review","authors":"Joshua Bemrose","doi":"10.1386/ajpc.8.1.127_5","DOIUrl":"https://doi.org/10.1386/ajpc.8.1.127_5","url":null,"abstract":"","PeriodicalId":29644,"journal":{"name":"Australasian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45415759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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