Pub Date : 2023-08-23DOI: 10.1080/14797585.2023.2250108
Mikkel Bækby Johansen
{"title":"Sense and sensibility in intellectual discourse on YouTube: Anti-emotional positioning in the case of Affleck vs. Harris","authors":"Mikkel Bækby Johansen","doi":"10.1080/14797585.2023.2250108","DOIUrl":"https://doi.org/10.1080/14797585.2023.2250108","url":null,"abstract":"","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41523860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-17DOI: 10.1080/14797585.2023.2248653
Steven L. Dashiell
{"title":"Disney boys to men: erotic gaze and masculine gender capital of former Disney boy actors","authors":"Steven L. Dashiell","doi":"10.1080/14797585.2023.2248653","DOIUrl":"https://doi.org/10.1080/14797585.2023.2248653","url":null,"abstract":"","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44677974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-24DOI: 10.1080/14797585.2023.2238142
Mariane A. Stanev
{"title":"‘715 haven street: art looks back’: the archival question of art resistance for abolitionist futures in a pacified present","authors":"Mariane A. Stanev","doi":"10.1080/14797585.2023.2238142","DOIUrl":"https://doi.org/10.1080/14797585.2023.2238142","url":null,"abstract":"","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47798620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-24DOI: 10.1080/14797585.2023.2238145
Nitin Luthra
{"title":"Captive maternals and democracy as Hegelian Sittlichkeit: the case of the undocumented, incarcerated, and racialized in the United States and India","authors":"Nitin Luthra","doi":"10.1080/14797585.2023.2238145","DOIUrl":"https://doi.org/10.1080/14797585.2023.2238145","url":null,"abstract":"","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45107313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14797585.2023.2238146
Maxine Gee
ABSTRACT In 2003 Japanese folk horror game Fatal Frame II: Crimson Butterfly directed by Makoto Shibata, the protagonist bears witness to an ancient tradition of a community linked to the ritual sacrifice of twins, which results in the female victim becoming a malevolent spirit. Gradually the player, as Mio, equipped with the Camera Obscura, transitions from observer to participant in the cycle of events that results in sacrificing their own twin sister. This article focuses on establishing the game within the folk horror subgenre, before examining three female characters: Mio, the protagonist, who shifts from witness/voyeur to participant; Mayu, their twin, who transitions from unwilling to willing sacrifice; and Sae, the victim of the original ritual and antagonist. In Fatal Frame II, the Camera Obscura, which captures the supernatural world, is the lens through which past and present blur as the player is confronted by the twisted beliefs of the village. Through analysis of the game’s narrative, ludic elements, and visual aesthetics, I examine how these roles fit within the context of folk horror, gender and Japanese folklore.
{"title":"Women as witness, victim and villain: multifaceted role-play in Fatal Frame II","authors":"Maxine Gee","doi":"10.1080/14797585.2023.2238146","DOIUrl":"https://doi.org/10.1080/14797585.2023.2238146","url":null,"abstract":"ABSTRACT In 2003 Japanese folk horror game Fatal Frame II: Crimson Butterfly directed by Makoto Shibata, the protagonist bears witness to an ancient tradition of a community linked to the ritual sacrifice of twins, which results in the female victim becoming a malevolent spirit. Gradually the player, as Mio, equipped with the Camera Obscura, transitions from observer to participant in the cycle of events that results in sacrificing their own twin sister. This article focuses on establishing the game within the folk horror subgenre, before examining three female characters: Mio, the protagonist, who shifts from witness/voyeur to participant; Mayu, their twin, who transitions from unwilling to willing sacrifice; and Sae, the victim of the original ritual and antagonist. In Fatal Frame II, the Camera Obscura, which captures the supernatural world, is the lens through which past and present blur as the player is confronted by the twisted beliefs of the village. Through analysis of the game’s narrative, ludic elements, and visual aesthetics, I examine how these roles fit within the context of folk horror, gender and Japanese folklore.","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"41 14","pages":"299 - 312"},"PeriodicalIF":0.9,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41246008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.1080/14797585.2023.2228110
Leigh A. Wynn
ABSTRACT Am I pretty? A simple question that epitomises both beauty and vulgarity in its monstrous representation of feminine embodiment. In this work, I look at the 2007 Japanese Horror film Carved: The Slit Mouth Woman directed by Koji Shiraishi and its relation to the way in which it the monster Kuchisake-Onna presents the idealised role of motherhood in Japan today. Through this critical examination of the film, we see how communities establish social order and gender scripts of the feminine within the media, perpetuating hegemonic normalised roles through the monstrous feminine. This work looks at the Japanese urban legend of Kuchisake-Onna and compares it with the movie monster Carved as it projects forms of femininity and motherhood. By cross-referencing the telling of the legend with popular cinema we can see how media influence takes on a broader context towards the gendering of woman. In both the legend and the film, we see how women seek the approval of self and sovereignty, which is demonised, by revealing herself through sexual autonomy.
{"title":"Kuchisake-Onna: the horror of motherhood and gender embodiment","authors":"Leigh A. Wynn","doi":"10.1080/14797585.2023.2228110","DOIUrl":"https://doi.org/10.1080/14797585.2023.2228110","url":null,"abstract":"ABSTRACT Am I pretty? A simple question that epitomises both beauty and vulgarity in its monstrous representation of feminine embodiment. In this work, I look at the 2007 Japanese Horror film Carved: The Slit Mouth Woman directed by Koji Shiraishi and its relation to the way in which it the monster Kuchisake-Onna presents the idealised role of motherhood in Japan today. Through this critical examination of the film, we see how communities establish social order and gender scripts of the feminine within the media, perpetuating hegemonic normalised roles through the monstrous feminine. This work looks at the Japanese urban legend of Kuchisake-Onna and compares it with the movie monster Carved as it projects forms of femininity and motherhood. By cross-referencing the telling of the legend with popular cinema we can see how media influence takes on a broader context towards the gendering of woman. In both the legend and the film, we see how women seek the approval of self and sovereignty, which is demonised, by revealing herself through sexual autonomy.","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"27 1","pages":"286 - 298"},"PeriodicalIF":0.9,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46460398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-04DOI: 10.1080/14797585.2023.2218626
Melody Blackmore, Catherine E. Pugh
ABSTRACT At the end of 2015‘s The Witch, isolated and beaten protagonist, Thomasin, ultimately rejects her puritanical upbringing to become a witch, accepting the invitation of the Devil (in the guise of the family’s goat Black Philip). This essay will discuss Thomasin’s sexual deliverance in terms of her turning away from the authoritarian ‘Law of the Father’ towards female liberation that comes in the form of the Witch. Thomasin transitions from girl to woman, but does not want to do so in the restrictive Puritan fashion where patriarchy and oppression rules. She becomes a woman by embracing her sexuality in the figure of the witch and Black Philip as the figure of lust helping her become free. Western folklore posits the goat as a symbol of fertility, independence, and lust; Black Philip is a figure who represents a connection to wild desires. Therefore, Black Philip becomes not only a physical representation of the devil, but also a symbolic representation of Thomasin’s sexual desire. Drawing on theories of the monstrous-feminine (Creed, Kristeva, Arnold), the symbolism of folklore and Freud’s Electra complex, this work argues that, despite its message of feminine empowerment, The Witch cannot fully reject or escape patriarchal discourse.
{"title":"‘Better the devil you know’: feminine sexuality and patriarchal liberation in The Witch","authors":"Melody Blackmore, Catherine E. Pugh","doi":"10.1080/14797585.2023.2218626","DOIUrl":"https://doi.org/10.1080/14797585.2023.2218626","url":null,"abstract":"ABSTRACT At the end of 2015‘s The Witch, isolated and beaten protagonist, Thomasin, ultimately rejects her puritanical upbringing to become a witch, accepting the invitation of the Devil (in the guise of the family’s goat Black Philip). This essay will discuss Thomasin’s sexual deliverance in terms of her turning away from the authoritarian ‘Law of the Father’ towards female liberation that comes in the form of the Witch. Thomasin transitions from girl to woman, but does not want to do so in the restrictive Puritan fashion where patriarchy and oppression rules. She becomes a woman by embracing her sexuality in the figure of the witch and Black Philip as the figure of lust helping her become free. Western folklore posits the goat as a symbol of fertility, independence, and lust; Black Philip is a figure who represents a connection to wild desires. Therefore, Black Philip becomes not only a physical representation of the devil, but also a symbolic representation of Thomasin’s sexual desire. Drawing on theories of the monstrous-feminine (Creed, Kristeva, Arnold), the symbolism of folklore and Freud’s Electra complex, this work argues that, despite its message of feminine empowerment, The Witch cannot fully reject or escape patriarchal discourse.","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"27 1","pages":"256 - 271"},"PeriodicalIF":0.9,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44873818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.1080/14797585.2023.2218629
Cary Elza
ABSTRACT Ari Aster’s 2019 folk horror film Midsommar, which enjoyed both critical and popular success, features a bright colour palette and an eerily playful tone alongside a dark narrative exploring complexities of grief, depression, and bad relationships. The remote Swedish community to which protagonist Dani, her boyfriend, and his friends travel for a mid-summer festival is designed around beautiful objects, collective experiences, and rituals that foreground communal emotions, all of which contrast the technologically mediated communications foregrounded at the film’s outset. In fact, this community offers meticulously constructed antidotes to the loneliness of the modern world, and to Western ideals of masculine emotional distance…but at a cost. This paper examines the intersection of emotion, community, and gender in Midsommar, using the concept of affective design – usually associated with technology design – as well as work on group-based emotions, to interrogate the film’s vision of a community that challenges gender norms and the boundaries of emotional experience. Through the depiction of ingroup boundary-policing, stark contrasts between visions of masculinity, and lush visions of aesthetic experience and emotional release, Midsommar offers a series of convincing compensatory mechanisms that invite viewers, along with the main character, to temporarily compromise morality for the sake of belonging.
{"title":"‘“Do you feel held?”: gender, community, and affective design in midsommar’","authors":"Cary Elza","doi":"10.1080/14797585.2023.2218629","DOIUrl":"https://doi.org/10.1080/14797585.2023.2218629","url":null,"abstract":"ABSTRACT Ari Aster’s 2019 folk horror film Midsommar, which enjoyed both critical and popular success, features a bright colour palette and an eerily playful tone alongside a dark narrative exploring complexities of grief, depression, and bad relationships. The remote Swedish community to which protagonist Dani, her boyfriend, and his friends travel for a mid-summer festival is designed around beautiful objects, collective experiences, and rituals that foreground communal emotions, all of which contrast the technologically mediated communications foregrounded at the film’s outset. In fact, this community offers meticulously constructed antidotes to the loneliness of the modern world, and to Western ideals of masculine emotional distance…but at a cost. This paper examines the intersection of emotion, community, and gender in Midsommar, using the concept of affective design – usually associated with technology design – as well as work on group-based emotions, to interrogate the film’s vision of a community that challenges gender norms and the boundaries of emotional experience. Through the depiction of ingroup boundary-policing, stark contrasts between visions of masculinity, and lush visions of aesthetic experience and emotional release, Midsommar offers a series of convincing compensatory mechanisms that invite viewers, along with the main character, to temporarily compromise morality for the sake of belonging.","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"27 1","pages":"272 - 285"},"PeriodicalIF":0.9,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44294300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-30DOI: 10.1080/14797585.2023.2218628
Nikila Lakshmanan
ABSTRACTThere is surprisingly scant research on queer subtext in The Wicker Man (1973). I suggest Lord Summerisle, who was portrayed by Christopher Lee, is a queer-coded villain. On the night Willow MacGregor deflowers an adolescent named Ash Buchanan, Summerisle observes a pair of copulating snails, quotes Walt Whitman, and envisions Howie alone in his bedroom. Most terrestrial snails are considered hermaphrodites and liking Whitman, who was probably queer, was historically a code for homosexuality. Summerisle recites Whitman’s poem celebrating animals that ‘do not lie awake in the dark and weep for their sins’ or make him ‘sick’ discussing their ‘duty’ to the Christian God. The scene implies Summerisle wishes to deflower Howie the way Willow deflowers Ash, and mate with him like the snails. Summerisle resents Howie because his conservative Christianity prevents them from becoming lovers. Summerisle wants to believe Howie will reincarnate as his apple crops; he and his followers intend to consume his flesh and drink his blood in the form of fruit. Like Dracula, whom Lee was famous for playing, Summerisle seeks to penetrate Howie with his teeth in a metaphor for sex.KEYWORDS: The Wicker Man (1973)queer theoryfolk horror Disclosure statementNo potential conflict of interest was reported by the author.
{"title":"Queer subtext in <i>The Wicker Man</i> (1973)","authors":"Nikila Lakshmanan","doi":"10.1080/14797585.2023.2218628","DOIUrl":"https://doi.org/10.1080/14797585.2023.2218628","url":null,"abstract":"ABSTRACTThere is surprisingly scant research on queer subtext in The Wicker Man (1973). I suggest Lord Summerisle, who was portrayed by Christopher Lee, is a queer-coded villain. On the night Willow MacGregor deflowers an adolescent named Ash Buchanan, Summerisle observes a pair of copulating snails, quotes Walt Whitman, and envisions Howie alone in his bedroom. Most terrestrial snails are considered hermaphrodites and liking Whitman, who was probably queer, was historically a code for homosexuality. Summerisle recites Whitman’s poem celebrating animals that ‘do not lie awake in the dark and weep for their sins’ or make him ‘sick’ discussing their ‘duty’ to the Christian God. The scene implies Summerisle wishes to deflower Howie the way Willow deflowers Ash, and mate with him like the snails. Summerisle resents Howie because his conservative Christianity prevents them from becoming lovers. Summerisle wants to believe Howie will reincarnate as his apple crops; he and his followers intend to consume his flesh and drink his blood in the form of fruit. Like Dracula, whom Lee was famous for playing, Summerisle seeks to penetrate Howie with his teeth in a metaphor for sex.KEYWORDS: The Wicker Man (1973)queer theoryfolk horror Disclosure statementNo potential conflict of interest was reported by the author.","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135643715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/14797585.2023.2202820
Sarbani Banerjee
ABSTRACT The COVID-19 pandemic has not only claimed innumerable lives but the concomitant inflation has also frustrated many small and large enterprises, not to mention the loss of jobs that employees have suffered and sometimes succumbed to through self-harm and suicides. In this context, this paper probes how a politics of representation has deeply informed the dissemination and consumption of ‘COVID news,’ rendering a legitimate visibility largely to the loss and contributions of subjects that have access to socio-economic and political resources. Milan Kundera uses the term ‘symbolic voltage’ to refer to the role that the media plays in ‘constructing’ our everyday realities. In The Lost Dimension, Paul Virilio states that modern media technology has created a ‘crisis of representation’ or an optical illusion, where the distinctions between near and far, object and image, have imploded. In a bid to keep apace with a metanarrative of pandemic-engendered loss, the collective consciousness of different societies has not adequately focused on the marginalised subjects – the wage worker, the woman, the juvenile and the scholar from suburban/rural area. The paper argues that the ‘Covid-19-as-a-past’ is likely to be represented through the semantics of traditional history, which is a narrative of and by the powerful.
{"title":"Human crises and the COVID-19 pandemic: a review","authors":"Sarbani Banerjee","doi":"10.1080/14797585.2023.2202820","DOIUrl":"https://doi.org/10.1080/14797585.2023.2202820","url":null,"abstract":"ABSTRACT The COVID-19 pandemic has not only claimed innumerable lives but the concomitant inflation has also frustrated many small and large enterprises, not to mention the loss of jobs that employees have suffered and sometimes succumbed to through self-harm and suicides. In this context, this paper probes how a politics of representation has deeply informed the dissemination and consumption of ‘COVID news,’ rendering a legitimate visibility largely to the loss and contributions of subjects that have access to socio-economic and political resources. Milan Kundera uses the term ‘symbolic voltage’ to refer to the role that the media plays in ‘constructing’ our everyday realities. In The Lost Dimension, Paul Virilio states that modern media technology has created a ‘crisis of representation’ or an optical illusion, where the distinctions between near and far, object and image, have imploded. In a bid to keep apace with a metanarrative of pandemic-engendered loss, the collective consciousness of different societies has not adequately focused on the marginalised subjects – the wage worker, the woman, the juvenile and the scholar from suburban/rural area. The paper argues that the ‘Covid-19-as-a-past’ is likely to be represented through the semantics of traditional history, which is a narrative of and by the powerful.","PeriodicalId":44587,"journal":{"name":"Journal for Cultural Research","volume":"27 1","pages":"121 - 135"},"PeriodicalIF":0.9,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43878805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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