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}
Pub Date : 2022-01-02DOI: 10.1080/01956051.2021.1975625
J. Hodge
ABSTRACT This article argues that MGM’s 1939 classic The Wizard of Oz allegorizes both cultural and political responses to teen pregnancy in the 1930s, a decade which not only saw other movies address similar woman’s rights issues, but also saw legislation which eased restrictions on abortion. Part of the film’s universal appeal is its ability to represent unmarried, pregnant women from all economic brackets as well as provide a “choice” of whether to abandon or maintain what the movie directly identifies as “childhood,” or one’s “inner child,” but which seems to represent what could more accurately be called a “child within.”
{"title":"Bearing Children, Burying Childhood: An Allegory of Reproductive Rights in The Wizard of Oz (1939)","authors":"J. Hodge","doi":"10.1080/01956051.2021.1975625","DOIUrl":"https://doi.org/10.1080/01956051.2021.1975625","url":null,"abstract":"ABSTRACT This article argues that MGM’s 1939 classic The Wizard of Oz allegorizes both cultural and political responses to teen pregnancy in the 1930s, a decade which not only saw other movies address similar woman’s rights issues, but also saw legislation which eased restrictions on abortion. Part of the film’s universal appeal is its ability to represent unmarried, pregnant women from all economic brackets as well as provide a “choice” of whether to abandon or maintain what the movie directly identifies as “childhood,” or one’s “inner child,” but which seems to represent what could more accurately be called a “child within.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"132 1","pages":"40 - 48"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86725978","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: 10.1080/01956051.2021.1971605
Caitlin Shaw
ABSTRACT Babylon Berlin (ARD/Sky, 2017–) depicts Germany’s Weimar Republic by way of complex genericity, drawing especially on the era’s internationally recognizable associations with film noir and the musical. While this reflects its position in a transnational “quality” television landscape, its generic frameworks also draw out ambiguous historical tensions difficult to capture in a realist mode and highlight unpredictable ambivalence across Weimar’s institutions and culture. This complicates Weimar myths that polarize its supposedly regressive politics and progressive culture and see it as a “doomed republic,” the subsequent Nazi period viewed in hindsight as having been inevitable. It also distances it from recorded history, inviting a symbolic reading in the context of contemporary global phenomena. Babylon Berlin thus demonstrates that although citing globally popular genres to depict national histories facilitates transnational television drama’s accessibility, it can also aid critical historical reflection.
{"title":"To the Truth, to the Light: Genericity and Historicity in Babylon Berlin","authors":"Caitlin Shaw","doi":"10.1080/01956051.2021.1971605","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971605","url":null,"abstract":"ABSTRACT Babylon Berlin (ARD/Sky, 2017–) depicts Germany’s Weimar Republic by way of complex genericity, drawing especially on the era’s internationally recognizable associations with film noir and the musical. While this reflects its position in a transnational “quality” television landscape, its generic frameworks also draw out ambiguous historical tensions difficult to capture in a realist mode and highlight unpredictable ambivalence across Weimar’s institutions and culture. This complicates Weimar myths that polarize its supposedly regressive politics and progressive culture and see it as a “doomed republic,” the subsequent Nazi period viewed in hindsight as having been inevitable. It also distances it from recorded history, inviting a symbolic reading in the context of contemporary global phenomena. Babylon Berlin thus demonstrates that although citing globally popular genres to depict national histories facilitates transnational television drama’s accessibility, it can also aid critical historical reflection.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"316 1","pages":"24 - 39"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75298913","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: 10.1080/01956051.2021.1997891
Leslie Kreiner Wilson
Abstract While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today’s parlance—be termed life coach.
{"title":"“Sex Had Nothing to Do with It”: Mae West as Mentoring Icon","authors":"Leslie Kreiner Wilson","doi":"10.1080/01956051.2021.1997891","DOIUrl":"https://doi.org/10.1080/01956051.2021.1997891","url":null,"abstract":"Abstract While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today’s parlance—be termed life coach.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"30 1","pages":"13 - 23"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87791402","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 : 2021-10-02DOI: 10.1080/01956051.2021.1987833
Katarzyna Nowak-McNeice
streaming media: this is what happens when Jackson’s short novel becomes a Netflix property. To fill hours of programming, The Haunting of Hill House needs to be greatly expanded; to fit into the existing mold the story must incorporate a steady dose of jump scares and Stranger Things–style cliffhangers; to invite repeat screenings it needs a host of webpage-baiting Easter eggs (hello Russ Tamblyn!). Indeed, a more transparent Netflix would have used this book’s title itself. The issue extends beyond curmudgeonly grumbling about this series’ lack of fidelity, or wrongheadedly advocating for a return to those barren “fidelity” days of adaptation studies. Even more address from the contributors on the union of Netflix—and other streaming services—with literary properties would have been welcome (but please note that this volume does not condemn such discussion). It seems almost as though artists like Flanagan, and audiences, can conform with the dictates of streaming media culture or abandon new audio-visual media completely. It is not only Jackson fans, Henry James aficionados, or English professors who are anxious about a future littered with literary adaptations that feel more like The Mandalorian (2019–) than the seemingly annual BBC versions of Austen novels. Or, though Austen’s work survived a zombie invasion, must we rejoice in Baby Yoda gifs from the next Pride and Prejudice? Paul N. Reinsch Texas Tech University
流媒体:这就是当杰克逊的短篇小说成为Netflix的财产时发生的事情。为了填满数小时的节目，《鬼屋惊魂》需要大大扩展;为了适应现有的模式，故事必须融入一定量的跳跃恐惧和《怪奇物语》式的悬念;为了吸引观众再次放映，它需要大量吸引网页的彩蛋(你好，Russ Tamblyn!)事实上，更透明的Netflix会直接使用这本书的书名。这个问题已经超出了对这个系列缺乏忠实度的抱怨，或者错误地主张回到那些贫瘠的“忠实”适应研究的日子。如果能有更多关于netflix和其他流媒体服务联合的文章，我们会很欢迎(但请注意，本书并不谴责这样的讨论)。像弗拉纳根这样的艺术家和观众似乎可以顺应流媒体文化的要求，或者完全放弃新的视听媒体。不仅仅是杰克逊的粉丝、亨利·詹姆斯(Henry James)的粉丝或英语教授们担心，未来充斥着更像《曼达洛人》(2019 -)的文学改编作品，而不是看似每年一度的BBC版奥斯汀小说。或者，尽管奥斯汀的作品在僵尸入侵中幸存了下来，我们必须为下一部《傲慢与偏见》中的婴儿尤达礼物感到高兴吗?Paul N. Reinsch德克萨斯理工大学
{"title":"WOMEN IN THE WESTERN Ed. Sue Matheson. Edinburgh: Edinburgh UP, 2020. 360 pp. $110.00 hardcover.","authors":"Katarzyna Nowak-McNeice","doi":"10.1080/01956051.2021.1987833","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987833","url":null,"abstract":"streaming media: this is what happens when Jackson’s short novel becomes a Netflix property. To fill hours of programming, The Haunting of Hill House needs to be greatly expanded; to fit into the existing mold the story must incorporate a steady dose of jump scares and Stranger Things–style cliffhangers; to invite repeat screenings it needs a host of webpage-baiting Easter eggs (hello Russ Tamblyn!). Indeed, a more transparent Netflix would have used this book’s title itself. The issue extends beyond curmudgeonly grumbling about this series’ lack of fidelity, or wrongheadedly advocating for a return to those barren “fidelity” days of adaptation studies. Even more address from the contributors on the union of Netflix—and other streaming services—with literary properties would have been welcome (but please note that this volume does not condemn such discussion). It seems almost as though artists like Flanagan, and audiences, can conform with the dictates of streaming media culture or abandon new audio-visual media completely. It is not only Jackson fans, Henry James aficionados, or English professors who are anxious about a future littered with literary adaptations that feel more like The Mandalorian (2019–) than the seemingly annual BBC versions of Austen novels. Or, though Austen’s work survived a zombie invasion, must we rejoice in Baby Yoda gifs from the next Pride and Prejudice? Paul N. Reinsch Texas Tech University","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"4 1","pages":"234 - 235"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77221333","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 : 2021-10-02DOI: 10.1080/01956051.2021.1987835
Danielle Glassmeyer
{"title":"HOLLYWOOD HATES HITLER! JEW-BAITING, ANTI-NAZISM AND THE SENATE INVESTIGATION INTO WARMONGERING IN MOTION PICTURES By Chris Yogerst. Jackson: U P of Mississippi, 2020. 208 pp. $25.00 paper.","authors":"Danielle Glassmeyer","doi":"10.1080/01956051.2021.1987835","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987835","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"18 1","pages":"238 - 239"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84464427","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 : 2021-10-02DOI: 10.1080/01956051.2021.1971918
K. Flanagan
{"title":"COLD WAR FILM GENRES Edited by Homer B. Pettey. Edinburgh UP, 2018. 280 pp. $110 hardcover.","authors":"K. Flanagan","doi":"10.1080/01956051.2021.1971918","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971918","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"13 4","pages":"232 - 232"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72458141","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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