Pub Date : 2023-06-21DOI: 10.1080/01956051.2023.2190077
Aleksander Szaranski
Abstract
The post-hardware heroine is argued to be the latest revision of action heroines since the 1990s, emerging into a parodic postmodern paradigm that recalls compensatory reactions exhibited by the “beefcake” cinema of the 1980s that is inextricably caught up in nostalgia and desire. For Yvonne Tasker, muscular, built male bodies the likes of Schwarzenegger and Stallone are reactions to a then-new male encounter with the cinematic gaze, while Scott Bukatman argues they are reactions to technology and the rising posthuman. Post-hardware heroines, as such, are not only imbued with a nostalgia for the hardware heroines that first subverted male action roles of the 1990s, but actively parody the iterative history from which they appear in a fashion evocative of the waning postmodern moment. Contemporary action films Atomic Blonde (2017), Anna (stylized ANИA, 2019), Gunpowder Milkshake (2021), and Jolt (2021) are argued to mark the emergence of the post-hardware heroine and represent the new parodic paradigm in which they operate. By transgressing and subverting narrative roles occupied by gendered performances, these films look toward an action cinema that blurs the boundaries of gender and leaves behind the visual pleasures of the body.
{"title":"“Guns Go in the Cookie Jar”: Parody, Nostalgia, and the Post-Hardware Heroine","authors":"Aleksander Szaranski","doi":"10.1080/01956051.2023.2190077","DOIUrl":"https://doi.org/10.1080/01956051.2023.2190077","url":null,"abstract":"<p><b>Abstract</b></p><p>The post-hardware heroine is argued to be the latest revision of action heroines since the 1990s, emerging into a parodic postmodern paradigm that recalls compensatory reactions exhibited by the “beefcake” cinema of the 1980s that is inextricably caught up in nostalgia and desire. For Yvonne Tasker, muscular, built male bodies the likes of Schwarzenegger and Stallone are reactions to a then-new male encounter with the cinematic gaze, while Scott Bukatman argues they are reactions to technology and the rising posthuman. Post-hardware heroines, as such, are not only imbued with a nostalgia for the hardware heroines that first subverted male action roles of the 1990s, but actively parody the iterative history from which they appear in a fashion evocative of the waning postmodern moment. Contemporary action films <i>Atomic Blonde</i> (2017)<i>, Anna</i> (stylized <i>ANИA</i>, 2019)<i>, Gunpowder Milkshake</i> (2021), and <i>Jolt</i> (2021) are argued to mark the emergence of the post-hardware heroine and represent the new parodic paradigm in which they operate. By transgressing and subverting narrative roles occupied by gendered performances, these films look toward an action cinema that blurs the boundaries of gender and leaves behind the visual pleasures of the body.</p>","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"6 11","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1080/01956051.2023.2190075
Stevie K. Seibert Desjarlais
Abstract
Netflix’s reboot series Cobra Kai (2018–present) depicts an intergenerational negotiation of masculinities as the men from the original Karate Kid mentor Gen Z students. Reagan-era masculine norms and measures of manhood are tested by the teens as they face twenty-first-century challenges. Static performances of masculinity fail to meet the demands of new situations; thus, the mentors and the teens alike seek flexibility instead of a winner-takes-all approach.
{"title":"Measures of Success: Competing Masculinities in Cobra Kai","authors":"Stevie K. Seibert Desjarlais","doi":"10.1080/01956051.2023.2190075","DOIUrl":"https://doi.org/10.1080/01956051.2023.2190075","url":null,"abstract":"<p><b>Abstract</b></p><p>Netflix’s reboot series <i>Cobra Kai</i> (2018–present) depicts an intergenerational negotiation of masculinities as the men from the original <i>Karate Kid</i> mentor Gen Z students. Reagan-era masculine norms and measures of manhood are tested by the teens as they face twenty-first-century challenges. Static performances of masculinity fail to meet the demands of new situations; thus, the mentors and the teens alike seek flexibility instead of a winner-takes-all approach.</p>","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"7 4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1080/01956051.2023.2190076
Jeffrey S. Reznick
Abstract
Bernarr Cooper (1912–1999) led the Bureau of Mass Communications of the New York State Education Department from 1962 to 1982. During its heyday—roughly between 1970 and 1980—the Bureau produced or coproduced more than 1,500 educational programs, distributed widely to public schools and libraries across the state of New York. This article draws the story of Cooper and the Bureau out of the annals of New York State history, making it meaningful to the interrelated histories of mass communication, popular television, education, and public health.
{"title":"Toward a Civil Society: Bernarr Cooper and the Bureau of Mass Communications of the New York State Education Department","authors":"Jeffrey S. Reznick","doi":"10.1080/01956051.2023.2190076","DOIUrl":"https://doi.org/10.1080/01956051.2023.2190076","url":null,"abstract":"<p><b>Abstract</b></p><p>Bernarr Cooper (1912–1999) led the Bureau of Mass Communications of the New York State Education Department from 1962 to 1982. During its heyday—roughly between 1970 and 1980—the Bureau produced or coproduced more than 1,500 educational programs, distributed widely to public schools and libraries across the state of New York. This article draws the story of Cooper and the Bureau out of the annals of New York State history, making it meaningful to the interrelated histories of mass communication, popular television, education, and public health.</p>","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1080/01956051.2023.2208025
Jessica Walker
Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)
发表于《大众影视杂志》（第51卷，2023年第2期）
{"title":"RAPE IN PERIOD DRAMA TELEVISION: CONSENT, MYTH, AND FANTASY. By Katherine Byrne and Julie Anne Taddeo. Lexington Books, 2022. 134 pp. $95.00 hardback, $45.00 ebook.","authors":"Jessica Walker","doi":"10.1080/01956051.2023.2208025","DOIUrl":"https://doi.org/10.1080/01956051.2023.2208025","url":null,"abstract":"Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"6 10","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1080/01956051.2023.2205818
Antonio Sanna
Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)
发表于《大众影视杂志》（第51卷，2023年第2期）
{"title":"QUEER HORROR FILM AND TELEVISION: SEXUALITY AND MASCULINITY AT THE MARGINS. By Darren Elliott-Smith. London: Bloomsbury Academic, 2022. 252 pp. £28.99. Paperback.","authors":"Antonio Sanna","doi":"10.1080/01956051.2023.2205818","DOIUrl":"https://doi.org/10.1080/01956051.2023.2205818","url":null,"abstract":"Published in Journal of Popular Film and Television (Vol. 51, No. 2, 2023)","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"6 12","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/01956051.2023.2180615
Defne Ersin Tutan
ABSTRACT Except for a brief representation of her as a child in The King’s Speech (2010), Queen Elizabeth II’s life has been adapted to the screen through The Queen (2006) and A Royal Night Out (2015). Moreover, the release of the TV series The Crown has added a new perspective to the ways in which the queen’s life has been revised, rewritten, and adapted, although the dynamics of film and of television remain dissimilar. When analyzed in a singular framework, the three movies and the four seasons of the TV series provide an adapted version of the life of Queen Elizabeth II as biopics, providing alternative biographical representations, fictionalized versions of what is believed to be factual material. More significantly, such adaptations of history could be analyzed as simulations, and the historical figures they represent as simulacra. In this framework, this study analyzes Queen Elizabeth II’s biopics as adaptations of personal history to claim that all such versions of history are radically adaptive and revisionist in their very nature. The study also argues that, if these biopics are to be accepted as simulations, the fidelity debate would be rendered obsolete.
{"title":"Simulating the Past in the Present through Biopics: Queen Elizabeth II on Screen and on TV","authors":"Defne Ersin Tutan","doi":"10.1080/01956051.2023.2180615","DOIUrl":"https://doi.org/10.1080/01956051.2023.2180615","url":null,"abstract":"ABSTRACT Except for a brief representation of her as a child in The King’s Speech (2010), Queen Elizabeth II’s life has been adapted to the screen through The Queen (2006) and A Royal Night Out (2015). Moreover, the release of the TV series The Crown has added a new perspective to the ways in which the queen’s life has been revised, rewritten, and adapted, although the dynamics of film and of television remain dissimilar. When analyzed in a singular framework, the three movies and the four seasons of the TV series provide an adapted version of the life of Queen Elizabeth II as biopics, providing alternative biographical representations, fictionalized versions of what is believed to be factual material. More significantly, such adaptations of history could be analyzed as simulations, and the historical figures they represent as simulacra. In this framework, this study analyzes Queen Elizabeth II’s biopics as adaptations of personal history to claim that all such versions of history are radically adaptive and revisionist in their very nature. The study also argues that, if these biopics are to be accepted as simulations, the fidelity debate would be rendered obsolete.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"47 1","pages":"73 - 83"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77834454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/01956051.2023.2171660
Jennifer Ann Rea
Abstract The TV show Supernatural (2005–2020) features itinerant brothers Sam and Dean Winchester battling pagan gods from ancient Greco-Roman mythology who pose a threat to the present-day American way of life. The show utilizes two key concepts to define perils to American culture and values: the frontier myth and the myth of American exceptionalism. In a remote town in Alaska (i.e., the frontier), the brothers encounter the Roman goddess Fortuna, who reveals to the Winchesters how they can protect America. Fortuna’s appearance signifies a shift in how the show’s heroes, Sam and Dean, see themselves: they are forced to experience the despair everyday Americans feel when their luck runs out. A critical analysis of several key episodes will demonstrate that as the series advances, the focus on the brothers’ erasure of pagan threats to America is replaced by a critique of monotheistic religion, a reexamination of the myth of American exceptionalism, and social commentary on the problems with a culture based on consumerism.
{"title":"Heroes Never Sweat the Small Stuff: Fortuna in The CW’s Supernatural","authors":"Jennifer Ann Rea","doi":"10.1080/01956051.2023.2171660","DOIUrl":"https://doi.org/10.1080/01956051.2023.2171660","url":null,"abstract":"Abstract The TV show Supernatural (2005–2020) features itinerant brothers Sam and Dean Winchester battling pagan gods from ancient Greco-Roman mythology who pose a threat to the present-day American way of life. The show utilizes two key concepts to define perils to American culture and values: the frontier myth and the myth of American exceptionalism. In a remote town in Alaska (i.e., the frontier), the brothers encounter the Roman goddess Fortuna, who reveals to the Winchesters how they can protect America. Fortuna’s appearance signifies a shift in how the show’s heroes, Sam and Dean, see themselves: they are forced to experience the despair everyday Americans feel when their luck runs out. A critical analysis of several key episodes will demonstrate that as the series advances, the focus on the brothers’ erasure of pagan threats to America is replaced by a critique of monotheistic religion, a reexamination of the myth of American exceptionalism, and social commentary on the problems with a culture based on consumerism.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"31 1","pages":"39 - 48"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88641291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/01956051.2023.2171681
Sylvie Magerstädt, M. Cyrino
{"title":"Introduction: The Ancient Classical World from Film to Television","authors":"Sylvie Magerstädt, M. Cyrino","doi":"10.1080/01956051.2023.2171681","DOIUrl":"https://doi.org/10.1080/01956051.2023.2171681","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"22 1","pages":"2 - 7"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82378904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/01956051.2023.2171659
Aimee Hinds Scott, Maciej P Paprocki
Abstract This article focuses on Black representations of Greco-Roman goddesses in film and on television, exploring the historical and ideological conditions which have allowed audiences to react neutrally or favorably toward such representations. Adopting the transmedial perspective, the intersecting forces that have gradually disjointed conceptions of the gods and goddesses of Greek mythology in popular culture and imagination are considered. Such forces include nonspecialist understandings of ancient gender and its artistic interpretation, race versus colorism, and the commodity culture of cinema. Some portrayals of Black goddesses examined in this article appear in works imagineered or influenced by Disney: Hercules (1997 film, 1998–1999 animated series), The Little Mermaid (1989 film, 2008 Broadway musical) and Once Upon a Time (2011–2018 television series), whereas others appear in Syfy’s The Magicians (2015-2020 television series) and Rick Riordan’s Percy Jackson (2010 film and the upcoming television series). Casting Black women as Greek goddesses gradually weakens the conceptual entanglement between the Whiteness and the Greco-Roman divine, priming audiences to accept alternative representations of deities through cultural accretion.
{"title":"Casting Black Athenas: Black Representation of Ancient Greek Goddesses in Modern Audiovisual Media and Beyond","authors":"Aimee Hinds Scott, Maciej P Paprocki","doi":"10.1080/01956051.2023.2171659","DOIUrl":"https://doi.org/10.1080/01956051.2023.2171659","url":null,"abstract":"Abstract This article focuses on Black representations of Greco-Roman goddesses in film and on television, exploring the historical and ideological conditions which have allowed audiences to react neutrally or favorably toward such representations. Adopting the transmedial perspective, the intersecting forces that have gradually disjointed conceptions of the gods and goddesses of Greek mythology in popular culture and imagination are considered. Such forces include nonspecialist understandings of ancient gender and its artistic interpretation, race versus colorism, and the commodity culture of cinema. Some portrayals of Black goddesses examined in this article appear in works imagineered or influenced by Disney: Hercules (1997 film, 1998–1999 animated series), The Little Mermaid (1989 film, 2008 Broadway musical) and Once Upon a Time (2011–2018 television series), whereas others appear in Syfy’s The Magicians (2015-2020 television series) and Rick Riordan’s Percy Jackson (2010 film and the upcoming television series). Casting Black women as Greek goddesses gradually weakens the conceptual entanglement between the Whiteness and the Greco-Roman divine, priming audiences to accept alternative representations of deities through cultural accretion.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"46 1","pages":"29 - 38"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89774492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/01956051.2023.2171657
Kirsten Day
Abstract In recent decades, scholars have recognized close connections between Western film and Greek and Roman antiquity, a relationship HBO’s Westworld brings into sharp relief through classical themes, characterizations, and allusions. Two episodes from season 2 in particular have a heavy classical bent. Episode 4 (“Riddle of the Sphinx”) casts park owner James Delos as an Oedipus figure who, in attempting to avoid his fate, runs right into it, as he is confronted with the truth about his nature and identity. In episode 9, William too is identified with Oedipus, when his wife commits suicide after recognizing her husband’s true nature, and William murders his own kin through a failure of recognition, while quotations from Plutarch and Plotinus highlight the issues of identity, fate, and self-knowledge that resound throughout the episode. While the series more broadly is concerned with patriarchal overreach and issues of free will and identity, these two episodes, when examined through a classical lens, offer a concentrated view. In the end, much like its Sophoclean predecessor, Westworld works as an implicit criticism of unbridled ambition, patriarchal narcissism, and lack of self-awareness.
{"title":"Oedipal Anxieties in HBO’s Westworld","authors":"Kirsten Day","doi":"10.1080/01956051.2023.2171657","DOIUrl":"https://doi.org/10.1080/01956051.2023.2171657","url":null,"abstract":"Abstract In recent decades, scholars have recognized close connections between Western film and Greek and Roman antiquity, a relationship HBO’s Westworld brings into sharp relief through classical themes, characterizations, and allusions. Two episodes from season 2 in particular have a heavy classical bent. Episode 4 (“Riddle of the Sphinx”) casts park owner James Delos as an Oedipus figure who, in attempting to avoid his fate, runs right into it, as he is confronted with the truth about his nature and identity. In episode 9, William too is identified with Oedipus, when his wife commits suicide after recognizing her husband’s true nature, and William murders his own kin through a failure of recognition, while quotations from Plutarch and Plotinus highlight the issues of identity, fate, and self-knowledge that resound throughout the episode. While the series more broadly is concerned with patriarchal overreach and issues of free will and identity, these two episodes, when examined through a classical lens, offer a concentrated view. In the end, much like its Sophoclean predecessor, Westworld works as an implicit criticism of unbridled ambition, patriarchal narcissism, and lack of self-awareness.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"31 1","pages":"18 - 28"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76546070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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