Pub Date : 2022-10-02DOI: 10.1080/01956051.2022.2145453
Cortland Rankin
Abstract The Korean War is paradoxically remembered in the United States as “The Forgotten War.” While there are many reasons for this amnesia, the war’s representation in American popular culture, and cinema in particular, remains a key factor. Looking beyond the narrow canon of Korean War film “classics,” this article surveys a broad spectrum of American-produced Korean War films made since 1951 in terms of their capacity (or rather incapacity) to serve as adequate means of Korean War remembrance. Building on memory studies scholar Astrid Erll’s theory of media and cultural memory, the article proposes a typology of the kinds of (non-)memory work done by American Korean War films, with a specific focus on common narrative strategies that not only hinder remembrance but facilitate forgetting. These include the frequent subordination of the war to background or other ancillary roles, overly generic and nonspecific treatments of the war, and the tendency to conflate Korea with WWII. The article frames the mnemonic implications of these narrative strategies in terms of the compromised memory potentials they generate, including “peripheral memory,” “vague memory,” and “parasitic memory.”
{"title":"Forgettable Tales of a Forgotten War: Narrative, Memory, and the Erasure of the Korean War in American Cinema","authors":"Cortland Rankin","doi":"10.1080/01956051.2022.2145453","DOIUrl":"https://doi.org/10.1080/01956051.2022.2145453","url":null,"abstract":"Abstract The Korean War is paradoxically remembered in the United States as “The Forgotten War.” While there are many reasons for this amnesia, the war’s representation in American popular culture, and cinema in particular, remains a key factor. Looking beyond the narrow canon of Korean War film “classics,” this article surveys a broad spectrum of American-produced Korean War films made since 1951 in terms of their capacity (or rather incapacity) to serve as adequate means of Korean War remembrance. Building on memory studies scholar Astrid Erll’s theory of media and cultural memory, the article proposes a typology of the kinds of (non-)memory work done by American Korean War films, with a specific focus on common narrative strategies that not only hinder remembrance but facilitate forgetting. These include the frequent subordination of the war to background or other ancillary roles, overly generic and nonspecific treatments of the war, and the tendency to conflate Korea with WWII. The article frames the mnemonic implications of these narrative strategies in terms of the compromised memory potentials they generate, including “peripheral memory,” “vague memory,” and “parasitic memory.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"76 1","pages":"178 - 195"},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81564502","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: 10.1080/01956051.2022.2086526
William L. Svitavsky
Abstract The soap opera Dark Shadows (ABC, 1966–1971) gradually took on elements from horror movies, including an immensely popular vampire character. This article examines how the mixing of genre elements took place and how it changed the show’s audience and messaging.
{"title":"Dark Shadows: Monster Culture on Daytime Television","authors":"William L. Svitavsky","doi":"10.1080/01956051.2022.2086526","DOIUrl":"https://doi.org/10.1080/01956051.2022.2086526","url":null,"abstract":"Abstract The soap opera Dark Shadows (ABC, 1966–1971) gradually took on elements from horror movies, including an immensely popular vampire character. This article examines how the mixing of genre elements took place and how it changed the show’s audience and messaging.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"187 1","pages":"130 - 140"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73533414","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: 10.1080/01956051.2022.2094868
Rebecca Rowe
Abstract Building from Helena Hammond’s discussion of Disney’s legacy films, there are three kinds of Disney legacy films designed specifically around Disney’s animated classics: legacy re-releases when classic animated films are brought “out of the vault”; legacy remakes which fairly faithfully remake the original animated classics with the story and plot more or less intact; and legacy retellings which draw on animated classics to tell a completely new story, often by focusing on a different perspective or continuing the story beyond the animated classic. These three types of legacy film venerate the Disney company and their catalog in three distinct ways: the re-releases make these films seem like a treasure worth hoarding; the remakes use new technology to give the old films new life, making the original text seem both new and yet always familiar; and the retellings work to show how Disney has supposedly grown as a company, both venerating the original texts and intentionally pointing to their flaws in order to make Disney seem even better today. All three tactics work in concert to bring Disney’s past to the present in order to secure their future amidst technological and cultural changes.
{"title":"Disney Does Disney: Re-Releasing, Remaking, and Retelling Animated Films for a New Generation","authors":"Rebecca Rowe","doi":"10.1080/01956051.2022.2094868","DOIUrl":"https://doi.org/10.1080/01956051.2022.2094868","url":null,"abstract":"Abstract Building from Helena Hammond’s discussion of Disney’s legacy films, there are three kinds of Disney legacy films designed specifically around Disney’s animated classics: legacy re-releases when classic animated films are brought “out of the vault”; legacy remakes which fairly faithfully remake the original animated classics with the story and plot more or less intact; and legacy retellings which draw on animated classics to tell a completely new story, often by focusing on a different perspective or continuing the story beyond the animated classic. These three types of legacy film venerate the Disney company and their catalog in three distinct ways: the re-releases make these films seem like a treasure worth hoarding; the remakes use new technology to give the old films new life, making the original text seem both new and yet always familiar; and the retellings work to show how Disney has supposedly grown as a company, both venerating the original texts and intentionally pointing to their flaws in order to make Disney seem even better today. All three tactics work in concert to bring Disney’s past to the present in order to secure their future amidst technological and cultural changes.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"45 1","pages":"98 - 111"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73979919","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: 10.1080/01956051.2022.2111943
S. Cannon
{"title":"HORRIBLE WHITE PEOPLE: GENDER, GENRE, AND TELEVISION’S PRECARIOUS WHITENESS. By Taylor Nygaard and Jorie Lagerwey. New York University Press, 2020. 272 pp. $89.00 cloth.","authors":"S. Cannon","doi":"10.1080/01956051.2022.2111943","DOIUrl":"https://doi.org/10.1080/01956051.2022.2111943","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"152 1","pages":"142 - 143"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77075172","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: 10.1080/01956051.2022.2114281
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}
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