Pub Date : 2022-07-03DOI: 10.1080/01956051.2022.2114281
H. Humann
A n American director, producer, and screenwriter with more than a dozen films to his credit, Stanley Kubrick (1928–1999) stands apart as one of the most acclaimed luminaries in cinema history. Indeed, as the editors of the recently published Bloomsbury Companion to Stanley Kubrick note in their introduction, his “remarkable body of films continues to attract worldwide scholarly, critical, and fan attention” (Hunter and Abrams 1). It is therefore not surprising that there is robust interest in Kubrick studies, so much so that “Kubrick is now one of the most written-about film directors in history,” with scholarship surrounding him “still growing” (1). With this in mind—and in an effort to provide a “comprehensive introduction to and summary of the current scholarship in Kubrick Studies”—this collection assembles a large group of international scholars who collectively present a thorough discussion of his contribution to cinema (1). As a starting point, the editors call attention to the fact that Kubrick’s many films represent disparate genres and reflect different aesthetics—so much so that scholars have found it difficult to categorize his oeuvre. Nonetheless, as the editors have identified, there are recurring themes in Kubrick’s cinematic works. Thus, this volume, which includes 39 contributions, offers a thematic exploration of his filmography. The selections, which are divided into five sections, both summarize previous Kubrick scholarship and present current (often archive-based) research. In “Industry,” the first section of the collection, essays survey Kubrick in terms of production, authorship, collaboration, translation, and adaptation. Beginning by positing that Kubrick was both a “brand” and an “auteur,” this section emphasizes his crucial role in cinema history (11–12). While acknowledging that the relationship between “auterism and originality” can be fraught, this section highlights how, in the case of Kubrick, the fact that his “films are adaptations is not the most important discursive frame for understanding them,” nor did it impact how they were promoted (12). The next part of the book, “Sound and Image,” explores Kubrick’s use of visuals, music, and sound effects. While there is consensus that Kubrick’s style is “celebrated,” the individual contributors to this section home in on different facets of his aesthetic (85). For instance, while Robert P. Kolker examines Kubrick’s meticulous framing, Rodney F. Hill emphasizes, instead, his relationship to formalism. For her part, Kate McQuiston appraises Kubrick’s use of music to create mood, adding that the director “took advantage of technological developments in production and creation, such as synthesizers” (86). In “Gender and Identity,” the third section of the book, the included selections consider how Kubrick represented men and women in his films. For instance, by viewing Kubrick from a feminist perspective, Karen A. Ritzenhoff reassesses his cinematic portrayals through the
{"title":"THE BLOOMSBURY COMPANION TO STANLEY KUBRICK. Edited by I. Q. Hunter and Nathan Abrams. Bloomsbury Academic, 2022. 396 pp. $39.95 paperback.","authors":"H. Humann","doi":"10.1080/01956051.2022.2114281","DOIUrl":"https://doi.org/10.1080/01956051.2022.2114281","url":null,"abstract":"A n American director, producer, and screenwriter with more than a dozen films to his credit, Stanley Kubrick (1928–1999) stands apart as one of the most acclaimed luminaries in cinema history. Indeed, as the editors of the recently published Bloomsbury Companion to Stanley Kubrick note in their introduction, his “remarkable body of films continues to attract worldwide scholarly, critical, and fan attention” (Hunter and Abrams 1). It is therefore not surprising that there is robust interest in Kubrick studies, so much so that “Kubrick is now one of the most written-about film directors in history,” with scholarship surrounding him “still growing” (1). With this in mind—and in an effort to provide a “comprehensive introduction to and summary of the current scholarship in Kubrick Studies”—this collection assembles a large group of international scholars who collectively present a thorough discussion of his contribution to cinema (1). As a starting point, the editors call attention to the fact that Kubrick’s many films represent disparate genres and reflect different aesthetics—so much so that scholars have found it difficult to categorize his oeuvre. Nonetheless, as the editors have identified, there are recurring themes in Kubrick’s cinematic works. Thus, this volume, which includes 39 contributions, offers a thematic exploration of his filmography. The selections, which are divided into five sections, both summarize previous Kubrick scholarship and present current (often archive-based) research. In “Industry,” the first section of the collection, essays survey Kubrick in terms of production, authorship, collaboration, translation, and adaptation. Beginning by positing that Kubrick was both a “brand” and an “auteur,” this section emphasizes his crucial role in cinema history (11–12). While acknowledging that the relationship between “auterism and originality” can be fraught, this section highlights how, in the case of Kubrick, the fact that his “films are adaptations is not the most important discursive frame for understanding them,” nor did it impact how they were promoted (12). The next part of the book, “Sound and Image,” explores Kubrick’s use of visuals, music, and sound effects. While there is consensus that Kubrick’s style is “celebrated,” the individual contributors to this section home in on different facets of his aesthetic (85). For instance, while Robert P. Kolker examines Kubrick’s meticulous framing, Rodney F. Hill emphasizes, instead, his relationship to formalism. For her part, Kate McQuiston appraises Kubrick’s use of music to create mood, adding that the director “took advantage of technological developments in production and creation, such as synthesizers” (86). In “Gender and Identity,” the third section of the book, the included selections consider how Kubrick represented men and women in his films. For instance, by viewing Kubrick from a feminist perspective, Karen A. Ritzenhoff reassesses his cinematic portrayals through the","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"8 1","pages":"141 - 141"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78614763","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 : 2022-07-03DOI: 10.1080/01956051.2022.2110559
Angelos Bollas
ABSTRACT An analysis of Pose (2018–2021) shows that the way HIV/AIDS suffering was represented in this series was very different to earlier representations. In particular, multimodal analysis is deployed to show how the series contributes to the provision of opportunities for audiences to identify and empathize with people living with HIV/AIDS (PLWHA). At a critical discourse level of analysis, Pose enables audiences to reflect on the position of PLWHA in the society; as such, rather than promoting feelings of care, the series appears to encourage audiences to engage with HIV/AIDS suffering in more depth, promoting the possibility of audiences contributing to the demand for civil rights for PLWHA. Indeed, the analysis suggests that Pose addresses social stigmatization and marginalization in a manner that promotes sociocultural change. The us-versus-them binary is reversed in such a manner whereby it becomes possible that those who contribute to the stigmatization of PLWHA are the ones who become the Others. The contribution of the series lies not only on the fact that PLWHA, as well as members of the queer community, were involved in the creation and production process; rather, the series addresses HIV/AIDS in an empowering, rather than a stigmatizing, manner.
{"title":"Viral Representations in Pose (2018–2021)","authors":"Angelos Bollas","doi":"10.1080/01956051.2022.2110559","DOIUrl":"https://doi.org/10.1080/01956051.2022.2110559","url":null,"abstract":"ABSTRACT An analysis of Pose (2018–2021) shows that the way HIV/AIDS suffering was represented in this series was very different to earlier representations. In particular, multimodal analysis is deployed to show how the series contributes to the provision of opportunities for audiences to identify and empathize with people living with HIV/AIDS (PLWHA). At a critical discourse level of analysis, Pose enables audiences to reflect on the position of PLWHA in the society; as such, rather than promoting feelings of care, the series appears to encourage audiences to engage with HIV/AIDS suffering in more depth, promoting the possibility of audiences contributing to the demand for civil rights for PLWHA. Indeed, the analysis suggests that Pose addresses social stigmatization and marginalization in a manner that promotes sociocultural change. The us-versus-them binary is reversed in such a manner whereby it becomes possible that those who contribute to the stigmatization of PLWHA are the ones who become the Others. The contribution of the series lies not only on the fact that PLWHA, as well as members of the queer community, were involved in the creation and production process; rather, the series addresses HIV/AIDS in an empowering, rather than a stigmatizing, manner.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"78 1","pages":"112 - 129"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74811248","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 : 2022-04-03DOI: 10.1080/01956051.2022.2057406
C. Galati
Abstract The article studies Dante’s Commedia and its influence on American televisual culture. In addition to exploring how the poem has shaped the audience’s perception of the afterlife, it observes how the television series Buffy the Vampire Slayer (1997–2003) interweaves, appropriates, and adapts the medieval text into its series arc. Throughout its production, Buffy the Vampire Slayer received critical praise and recognition, including a 1999 Emmy Awards nomination and, in 2014, was included in Time magazine’s “100 Best TV Shows of All Time.” In addition, the series has amassed a place in academia, in part due to the publication of Slayage: The Journal of the Whedon Studies Association. Although the program is worthy of further intellectual exploration, often it is snubbed because of its content and medium, television. Throughout its seven-year span, the show has appropriated Sophocles, Shakespeare, the Brothers Grimm, T. S. Eliot, and E. M. Forster throughout each season’s main story arc. However, what is striking about the series is that it playfully hides one of its primary sources from view: Dante. The article explores how Dante’s adaptation and appropriation raise the show’s status of low, domestic culture to a higher level of art and transtextuality.
{"title":"Abandon All Hope Ye Who Enter…High School? Dante's Commedia and Buffy the Vampire Slayer","authors":"C. Galati","doi":"10.1080/01956051.2022.2057406","DOIUrl":"https://doi.org/10.1080/01956051.2022.2057406","url":null,"abstract":"Abstract The article studies Dante’s Commedia and its influence on American televisual culture. In addition to exploring how the poem has shaped the audience’s perception of the afterlife, it observes how the television series Buffy the Vampire Slayer (1997–2003) interweaves, appropriates, and adapts the medieval text into its series arc. Throughout its production, Buffy the Vampire Slayer received critical praise and recognition, including a 1999 Emmy Awards nomination and, in 2014, was included in Time magazine’s “100 Best TV Shows of All Time.” In addition, the series has amassed a place in academia, in part due to the publication of Slayage: The Journal of the Whedon Studies Association. Although the program is worthy of further intellectual exploration, often it is snubbed because of its content and medium, television. Throughout its seven-year span, the show has appropriated Sophocles, Shakespeare, the Brothers Grimm, T. S. Eliot, and E. M. Forster throughout each season’s main story arc. However, what is striking about the series is that it playfully hides one of its primary sources from view: Dante. The article explores how Dante’s adaptation and appropriation raise the show’s status of low, domestic culture to a higher level of art and transtextuality.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"59 1","pages":"80 - 92"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90758281","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 : 2022-04-03DOI: 10.1080/01956051.2022.2083866
Karen J. Renner
tion to be a valuable resource. Brown ably synthesizes research done by many important scholars writing on animation, film, and literary and cultural studies. Academics in the burgeoning field of Disney studies will also turn to this book as a source of constructive research and insight into how this company, founded initially as an animation studio, evolved into the world’s largest and most encompassing entertainment conglomerate. Brown’s book was published a few months before the Walt Disney Company announced that it would permanently close Blue Sky Studios (the Ice Age and Rio films, Robots, Spies in Disguise), citing the pressures of the COVID-19 pandemic and further solidifying its animation monopoly on films made by Pixar and Disney. It would have been fascinating to hear Brown’s opinions on the Blue Sky closure, though the analysis he lays out in the book provides a framework for recognizing the Disney corporate mentality of the past thirty years. Understanding the history and cultural impact of twentieth and twenty-first century Hollywood animation helps clarify the intimate relationship between ideology and socioeconomic practice. The breadth of research and analysis demonstrated in Brown’s book will enable it to be a permanent fixture in the growing archive for where animation and cultural studies intersect. Farisa Khalid College of William & Mary Farisa Khalid recently graduated with her PhD in English from George Washington University. She specializes in British and Anglophone literature from the late nineteenth century to the present, modern drama, and film. She has an MA in art history from New York University’s Institute of Fine Arts and an MA in Irish Studies from New York University. Her work has appeared in publications such as Journal of Modern Literature, Modern Fiction Studies, Animation, and The Journal of Popular Culture. Recently, she has worked as a lecturer in literature and cultural studies at Howard University and College of William & Mary.
{"title":"AFFECTIVE INTENSITIES AND EVOLVING HORROR FORMS: FROM FOUND FOOTAGE TO VIRTUAL REALITY By Adam Daniel. Edinburgh: Edinburgh UP, 2020. 232 pp. $105 hardback, $24.95 paper, $27.95 ePub.","authors":"Karen J. Renner","doi":"10.1080/01956051.2022.2083866","DOIUrl":"https://doi.org/10.1080/01956051.2022.2083866","url":null,"abstract":"tion to be a valuable resource. Brown ably synthesizes research done by many important scholars writing on animation, film, and literary and cultural studies. Academics in the burgeoning field of Disney studies will also turn to this book as a source of constructive research and insight into how this company, founded initially as an animation studio, evolved into the world’s largest and most encompassing entertainment conglomerate. Brown’s book was published a few months before the Walt Disney Company announced that it would permanently close Blue Sky Studios (the Ice Age and Rio films, Robots, Spies in Disguise), citing the pressures of the COVID-19 pandemic and further solidifying its animation monopoly on films made by Pixar and Disney. It would have been fascinating to hear Brown’s opinions on the Blue Sky closure, though the analysis he lays out in the book provides a framework for recognizing the Disney corporate mentality of the past thirty years. Understanding the history and cultural impact of twentieth and twenty-first century Hollywood animation helps clarify the intimate relationship between ideology and socioeconomic practice. The breadth of research and analysis demonstrated in Brown’s book will enable it to be a permanent fixture in the growing archive for where animation and cultural studies intersect. Farisa Khalid College of William & Mary Farisa Khalid recently graduated with her PhD in English from George Washington University. She specializes in British and Anglophone literature from the late nineteenth century to the present, modern drama, and film. She has an MA in art history from New York University’s Institute of Fine Arts and an MA in Irish Studies from New York University. Her work has appeared in publications such as Journal of Modern Literature, Modern Fiction Studies, Animation, and The Journal of Popular Culture. Recently, she has worked as a lecturer in literature and cultural studies at Howard University and College of William & Mary.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"173 1","pages":"95 - 96"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79566119","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 : 2022-04-03DOI: 10.1080/01956051.2022.2086425
H. Humann
{"title":"CRIME IN TV, THE NEWS, AND FILM: MISCONCEPTIONS, MISCHARACTERIZATIONS, AND MISINFORMATION By Beth E. Adubato, Nicole M. Sachs, Donald F. Fizzinoglia, and John M. Swiderski. Lexington Books, 2022. 232 pp. $100 Hardcover.","authors":"H. Humann","doi":"10.1080/01956051.2022.2086425","DOIUrl":"https://doi.org/10.1080/01956051.2022.2086425","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"20 1","pages":"93 - 93"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72516478","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 : 2022-04-03DOI: 10.1080/01956051.2022.2051419
Summit P. Osur
ABSTRACT The twenty-first century TV landscape is dominated by high-gloss quality dramas, experimental single-camera comedies, and auteur dramedies. These shows use nihilism and irony to signify their inclusion in the newest pantheon of sociopolitical relevance: Woke TV. A textual analysis of One Day at a Time (Netflix/Pop, 2017–2020) and The Baby-Sitters Club (Netflix, 2020–), however, challenges the ironic detachment that typifies Woke TV. By leaning into the nostalgia of the TV remake, these shows offer a blueprint for a more earnest and active version of the genre that relies not on detachment, but on an audience’s emotional engagement with contemporary social, political, and economic issues. One Day at a Time embraces the artistic conservatism of the multicamera sitcom to, in true Woke TV fashion, shed light on the institutional structures that underpin hegemonic capitalist power and white supremacy. Similarly, The Baby-Sitters Club employs the sincere and earnest framework of the kids’ show to advocate for optimism, responsibility, and fairness in private and civic discourse. Taken together, these two shows exemplify a more populist taxonomy of the Woke TV genre that co-opts, rather than rejects, the traditions of televisual genre and format.
{"title":"#WokeTV Beyond the Hashtag: One Day at a Time and The Baby-Sitters Club as Woke Classic Television","authors":"Summit P. Osur","doi":"10.1080/01956051.2022.2051419","DOIUrl":"https://doi.org/10.1080/01956051.2022.2051419","url":null,"abstract":"ABSTRACT The twenty-first century TV landscape is dominated by high-gloss quality dramas, experimental single-camera comedies, and auteur dramedies. These shows use nihilism and irony to signify their inclusion in the newest pantheon of sociopolitical relevance: Woke TV. A textual analysis of One Day at a Time (Netflix/Pop, 2017–2020) and The Baby-Sitters Club (Netflix, 2020–), however, challenges the ironic detachment that typifies Woke TV. By leaning into the nostalgia of the TV remake, these shows offer a blueprint for a more earnest and active version of the genre that relies not on detachment, but on an audience’s emotional engagement with contemporary social, political, and economic issues. One Day at a Time embraces the artistic conservatism of the multicamera sitcom to, in true Woke TV fashion, shed light on the institutional structures that underpin hegemonic capitalist power and white supremacy. Similarly, The Baby-Sitters Club employs the sincere and earnest framework of the kids’ show to advocate for optimism, responsibility, and fairness in private and civic discourse. Taken together, these two shows exemplify a more populist taxonomy of the Woke TV genre that co-opts, rather than rejects, the traditions of televisual genre and format.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"67 1","pages":"69 - 79"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86011577","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 : 2022-04-03DOI: 10.1080/01956051.2022.2033157
Judith Clemens‐Smucker
Abstract At first glance, the Netflix series Stranger Things places itself within the category of monstrous feminine narratives by introducing preteen Eleven as the series’ human monster. The show pits her against literal monsters which, like adolescents, exist in a physically transformative and liminal space. However, while the series initially appears to reinforce the stereotype of young females as borderland monsters who defy categorization, the show ultimately undermines this same convention. Instead, it presents Eleven as a complete person who exhibits intelligence, individuality, and power in a manner more complex and modern than earlier filmic embodiments of monstrous adolescence and femininity. Eleven represents a new generation; while the monsters can still be viewed as illustrative of adolescence, Eleven rises above the characterizations of previous horror texts, successfully defying the containment often placed on girls. Viewers are shown that rather than letting society dictate their actions, girls can perform with agency and ability. Instead of serving only as objects of desire (or angst) for boys, girls can be the ones to save the day.
{"title":"Stranger Teens: Eleven Transforms the Monstrous Symbolism of Adolescence through a Contemporary Narrative Arc","authors":"Judith Clemens‐Smucker","doi":"10.1080/01956051.2022.2033157","DOIUrl":"https://doi.org/10.1080/01956051.2022.2033157","url":null,"abstract":"Abstract At first glance, the Netflix series Stranger Things places itself within the category of monstrous feminine narratives by introducing preteen Eleven as the series’ human monster. The show pits her against literal monsters which, like adolescents, exist in a physically transformative and liminal space. However, while the series initially appears to reinforce the stereotype of young females as borderland monsters who defy categorization, the show ultimately undermines this same convention. Instead, it presents Eleven as a complete person who exhibits intelligence, individuality, and power in a manner more complex and modern than earlier filmic embodiments of monstrous adolescence and femininity. Eleven represents a new generation; while the monsters can still be viewed as illustrative of adolescence, Eleven rises above the characterizations of previous horror texts, successfully defying the containment often placed on girls. Viewers are shown that rather than letting society dictate their actions, girls can perform with agency and ability. Instead of serving only as objects of desire (or angst) for boys, girls can be the ones to save the day.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"11 1","pages":"60 - 68"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81009280","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 : 2022-04-03DOI: 10.1080/01956051.2022.2077623
Farisa Khalid
{"title":"CONTEMPORARY HOLLYWOOD ANIMATION: STYLE, STORYTELLING, CULTURE AND IDEOLOGY SINCE THE 1990S. By Noel Brown. Edinburgh UP, 2021. 232 pp. $100 hardcover, $24.95 paperback (forthcoming).","authors":"Farisa Khalid","doi":"10.1080/01956051.2022.2077623","DOIUrl":"https://doi.org/10.1080/01956051.2022.2077623","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"119 1","pages":"94 - 95"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80387082","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 : 2022-04-03DOI: 10.1080/01956051.2022.2033156
Angelos Bollas
ABSTRACT TV mini-series and international hit Normal People (2020) introduced the character of Connell Waldron to the world. Connell’s character was not only well-received but he also created a following of his own. From his clothes, to his looks, to his character, Connell became an obsession for many. An analysis of the character of Connell with regard to the portrayal of his masculinity is presented in this article. The purpose of this is to situate Connell within a typology of Irish masculinities and, in doing so, to examine the sociocultural context within which such a masculinity emerged. As such, both the conditions that enabled this new type of masculinity to develop and the implications of such a portrayal for Irish society are discussed. Using Raewyn Connell and James Messerschmidt’s hegemonic masculinity as well as Eric Anderson and Mark McCormack’s inclusive masculinity theory, the contribution of Connell Waldron to the promotion of a society in which gender-related hegemonic inequalities fade away is examined.
{"title":"Normal People (2020) and the New Post-Celtic Irish Man","authors":"Angelos Bollas","doi":"10.1080/01956051.2022.2033156","DOIUrl":"https://doi.org/10.1080/01956051.2022.2033156","url":null,"abstract":"ABSTRACT TV mini-series and international hit Normal People (2020) introduced the character of Connell Waldron to the world. Connell’s character was not only well-received but he also created a following of his own. From his clothes, to his looks, to his character, Connell became an obsession for many. An analysis of the character of Connell with regard to the portrayal of his masculinity is presented in this article. The purpose of this is to situate Connell within a typology of Irish masculinities and, in doing so, to examine the sociocultural context within which such a masculinity emerged. As such, both the conditions that enabled this new type of masculinity to develop and the implications of such a portrayal for Irish society are discussed. Using Raewyn Connell and James Messerschmidt’s hegemonic masculinity as well as Eric Anderson and Mark McCormack’s inclusive masculinity theory, the contribution of Connell Waldron to the promotion of a society in which gender-related hegemonic inequalities fade away is examined.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"30 1","pages":"50 - 59"},"PeriodicalIF":0.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76132631","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 : 2022-01-02DOI: 10.1080/01956051.2021.2008856
Nicole Erin Morse
ABSTRACT Through close analysis of the supporting role played by black jazz musician Jon Batiste on The Late Show with Stephen Colbert, this article examines how the legacy of minstrelsy shapes late night comedy in the twenty-first century formally, spatially, and acoustically. For the majority of The Late Show’s history, Batiste has primarily operated as a voice without a body, or an acousmêtre, incorporated into a technical apparatus that deploys his reactions in a racialized manner that recalls minstrel conventions. This dynamic is exemplified in an episode from 2017 featuring black actor Morgan Freeman as a fantastical “sidekick” for the white host, Stephen Colbert, in a skit that made explicit the connotations of Batiste’s role on the show. However, when The Late Show began recording remotely as a result of the COVID-19 pandemic, Batiste’s relationship to the show changed. By redefining his relationship to the technology that shapes the show, Batiste has been able to transform his position on the show and exceed the technical confines of the acousmatic role he once played.
{"title":"Staying Human: Jon Batiste as Acousmêtre on The Late Show with Stephen Colbert","authors":"Nicole Erin Morse","doi":"10.1080/01956051.2021.2008856","DOIUrl":"https://doi.org/10.1080/01956051.2021.2008856","url":null,"abstract":"ABSTRACT Through close analysis of the supporting role played by black jazz musician Jon Batiste on The Late Show with Stephen Colbert, this article examines how the legacy of minstrelsy shapes late night comedy in the twenty-first century formally, spatially, and acoustically. For the majority of The Late Show’s history, Batiste has primarily operated as a voice without a body, or an acousmêtre, incorporated into a technical apparatus that deploys his reactions in a racialized manner that recalls minstrel conventions. This dynamic is exemplified in an episode from 2017 featuring black actor Morgan Freeman as a fantastical “sidekick” for the white host, Stephen Colbert, in a skit that made explicit the connotations of Batiste’s role on the show. However, when The Late Show began recording remotely as a result of the COVID-19 pandemic, Batiste’s relationship to the show changed. By redefining his relationship to the technology that shapes the show, Batiste has been able to transform his position on the show and exceed the technical confines of the acousmatic role he once played.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"2 - 12"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90773491","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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