{"title":"Ballyhoo!: The Roughhousers, Con Artists, and Wildmen Who Invented Professional WrestlingBy Jon Langmead, Columbia, MO: University of Missouri Press, 2023. 296 pp. $36.95 (bk). ISBN: 978-0826222992.","authors":"Jessica L. Williams","doi":"10.1111/jpcu.70043","DOIUrl":"https://doi.org/10.1111/jpcu.70043","url":null,"abstract":"","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Comedy in Literature and Popular Culture: From Aristophanes to Saturday Night LiveBy James V. Morrison, New York: Routledge, 2025. 244 pp. $49.99. (pbk). ISBN: 978-1-03-276324-8","authors":"Dandan Qin","doi":"10.1111/jpcu.70034","DOIUrl":"https://doi.org/10.1111/jpcu.70034","url":null,"abstract":"","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"346-347"},"PeriodicalIF":0.2,"publicationDate":"2025-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"American Noir Film. From the Maltese Falcon to Gone GirlBy M. Keith Booker, New York: Rowman and Littlefield, 2025. 217 pp. $45.00 (hardcover)","authors":"Micki Nyman","doi":"10.1111/jpcu.70032","DOIUrl":"https://doi.org/10.1111/jpcu.70032","url":null,"abstract":"","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"342-343"},"PeriodicalIF":0.2,"publicationDate":"2025-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Crime Fiction and Ecology: From the Local to the Global. By Nathan Ashman. Cambridge: Cambridge University Press, 2025. Pp. 84. £55.00 (hbk)","authors":"Muhsina Najeeb","doi":"10.1111/jpcu.70033","DOIUrl":"https://doi.org/10.1111/jpcu.70033","url":null,"abstract":"","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"344-345"},"PeriodicalIF":0.2,"publicationDate":"2025-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145779417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Disney Adults: Exploring (And Falling in Love With) a Magical Subculture. By AJ Wolfe. New York: Gallery Books, 2025. 272 pp. $28.99 (Hbk). ISBN: 978-1-66-806921-9","authors":"Matthew J. Trew","doi":"10.1111/jpcu.70031","DOIUrl":"https://doi.org/10.1111/jpcu.70031","url":null,"abstract":"","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"340-341"},"PeriodicalIF":0.2,"publicationDate":"2025-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay traces the evolution of Knott's Scary Farm, a popular Halloween attraction run by Knott's Berry Farm in Orange County, California. As the first large-scale Halloween attraction in the United States, Scary Farm has been a leader in the growing commercialization of Halloween, recording the holiday's national and regional inflections over the last five decades. In examining Knott's Berry Farm's engagements with the Republican Party, Evangelical Christianity, and community policing, this essay argues that a series of mock executions that take place at Scary Farm reveal essential connections between Halloween and American conservatism.
{"title":"On the Noose at Knott's Scary Farm","authors":"M. Stang","doi":"10.1111/jpcu.70027","DOIUrl":"https://doi.org/10.1111/jpcu.70027","url":null,"abstract":"<div>\u0000 \u0000 <p>This essay traces the evolution of Knott's Scary Farm, a popular Halloween attraction run by Knott's Berry Farm in Orange County, California. As the first large-scale Halloween attraction in the United States, Scary Farm has been a leader in the growing commercialization of Halloween, recording the holiday's national and regional inflections over the last five decades. In examining Knott's Berry Farm's engagements with the Republican Party, Evangelical Christianity, and community policing, this essay argues that a series of mock executions that take place at Scary Farm reveal essential connections between Halloween and American conservatism.</p>\u0000 </div>","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"300-307"},"PeriodicalIF":0.2,"publicationDate":"2025-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Popular Music in Spanish Cinema. By Lidia López Gómez, New York: Routledge, 2025. 224 pp. $54.99 (pbk). ISBN: 978-1-03-204708-9","authors":"Chang Xu","doi":"10.1111/jpcu.70030","DOIUrl":"https://doi.org/10.1111/jpcu.70030","url":null,"abstract":"","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"338-339"},"PeriodicalIF":0.2,"publicationDate":"2025-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While ranks of women behind the camera have grown in the horror industry, common misconceptions that women simply “don't do horror” persist. However, the last decade has seen a radical shift in the genre, and women directors are expanding the genre to unsettle audiences in innovative ways. This essay analyzes Promising Young Woman (2020) in the context of revenge narratives and raging women in horror, specifically the rhetorical shifts that have taken place in the genre. Zolciak explores the historical relevance of this film in relation to other women-directed horror/revenge movies, such as Karyn Kusama's Jennifer's Body (2009) and Ana Lily Amirpour's A Girl Walks Home Alone at Night (2014). Drawing on Kendall Phillips' primary models of rhetorical criticism, Zolciak asserts that Promising Young Woman proposes a different character that doesn't fall in line with victims, final girls, or strong women, and instead proposes a new, more flawed and nuanced character. This new character, in addition to the other stylistic choices, speak to the affective structures within the film, inviting viewers to revel in the complex feelings of grief, revenge, and refusal.
{"title":"Rhetorics of Rage: How Women Directors Are Shifting Revenge Narratives in the Horror Genre","authors":"Olivia Zolciak","doi":"10.1111/jpcu.70028","DOIUrl":"https://doi.org/10.1111/jpcu.70028","url":null,"abstract":"<p>While ranks of women behind the camera have grown in the horror industry, common misconceptions that women simply “don't do horror” persist. However, the last decade has seen a radical shift in the genre, and women directors are expanding the genre to unsettle audiences in innovative ways. This essay analyzes <i>Promising Young Woman</i> (2020) in the context of revenge narratives and raging women in horror, specifically the rhetorical shifts that have taken place in the genre. Zolciak explores the historical relevance of this film in relation to other women-directed horror/revenge movies, such as Karyn Kusama's <i>Jennifer's Body</i> (2009) and Ana Lily Amirpour's <i>A Girl Walks Home Alone at Night</i> (2014). Drawing on Kendall Phillips' primary models of rhetorical criticism, Zolciak asserts that <i>Promising Young Woman</i> proposes a different character that doesn't fall in line with victims, final girls, or strong women, and instead proposes a new, more flawed and nuanced character. This new character, in addition to the other stylistic choices, speak to the affective structures within the film, inviting viewers to revel in the complex feelings of grief, revenge, and refusal.</p>","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"308-316"},"PeriodicalIF":0.2,"publicationDate":"2025-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jpcu.70028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyses the role of “dynamic subtitles” in the American action film series John Wick (2014–2025). These subtitles, which vary in color, size, and position, draw attention to themselves as fully integrated aspects of the visual spectacle of the film series. This visibility indicates a purposefulness which verifies the subtitles' denotative and connotative translations. From this, the John Wick film series' application of such dynamic subtitles to a wide range of different languages spoken and understood by its central protagonist gives the viewer of this film series a virtual experience of a spectacular, but deceptive, multilingualism.
{"title":"Words That Pack a Punch: Dynamic Subtitles and Virtual Multilingualism in John Wick","authors":"Dylan Caskie","doi":"10.1111/jpcu.70029","DOIUrl":"https://doi.org/10.1111/jpcu.70029","url":null,"abstract":"<p>This paper analyses the role of “dynamic subtitles” in the American action film series John Wick (2014–2025). These subtitles, which vary in color, size, and position, draw attention to themselves as fully integrated aspects of the visual spectacle of the film series. This visibility indicates a purposefulness which verifies the subtitles' denotative and connotative translations. From this, the John Wick film series' application of such dynamic subtitles to a wide range of different languages spoken and understood by its central protagonist gives the viewer of this film series a virtual experience of a spectacular, but deceptive, multilingualism.</p>","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"317-323"},"PeriodicalIF":0.2,"publicationDate":"2025-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jpcu.70029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>Few disciplines lend themselves to being able to grapple with Comic-Con, fanfiction, rap music, autism, makeup and cosmetic culture, among others. As Katherine Anderson Howell shows, there is well-developed, yet understudied, interplay between disability and fandom in her succinctly-titled text, <i>Disability and Fandom</i>. In the introduction, she asks, “What would a disabled fan studies look like? Who and where are the disabled fans? What are their experiences?” (2). The rest of the text is her answer to those queries.</p><p>Anderson Howell herself is familiar with disability personally, professionally, and academically. She is disabled herself and is raising two neurodivergent children. She works professionally as a licensed esthetician, which she says she often works with disabled clients, and is also an independent scholar and activist. Anderson Howell's intention as an independent scholar seems to be to crip fan studies by being a disabled scholar and standing against academic rigor, which is often exclusionary to disabled academics. An interdisciplinary analysis of such an under-researched niche, such as fandom spaces, lends itself well to being investigated by an independent scholar.</p><p>In Introduction, Anderson Howell lays out her intentions, which are threefold: analyze fan studies through a disability-based lens, look at accessibility and attitudinal barriers in fan spaces, and how disabled fans interact with fandom as well as fandom interacts with disabled characters. This is a large undertaking, and the author makes great strides in this endeavor, particularly of such a magnitude. Any “acafan,” or academic fan as she describes, would likely find themselves both questioning why a particular intersection of disability and fandom was not incorporated but also find an unexpected inclusion in one of her chapters.</p><p>The book covers quite a few topics, but also provides fundamental information about both disability and fan studies in the first chapter. In doing so, Anderson Howell ensures that the reader is able to contend with the more niche parts of her discussion. Her second chapter speaks to fan conventions and how cons struggle with accommodating disabled participants and panelists, creating what she calls “access nightmares” where disabled people are simply unable to participate in the event (16). In the third chapter, she looks at the intersections of racism and ableism in perceptions of Ye, formerly known as Kanye West, but while also addressing that his mental health does not negate him from the consequences of antisemitism and other forms of bigotry. The fourth chapter analyzes several social media platforms that disabled users seem to congregate on, such as tumblr, Archive of Our Own (AO3), Instagram, and TikTok, and is one of the stronger chapters. Anderson Howell then looks at the autistic coding of characters, where a character is portrayed to have traits associated with autism, but it is never formally announced th
很少有学科能让自己应付动漫展、同人小说、说唱音乐、自闭症、化妆和化妆品文化等等。正如凯瑟琳·安德森·豪厄尔（Katherine Anderson Howell）所展示的那样，在她简洁的标题《残疾与狂热》（disability and fandom）中，残疾与狂热之间存在着一种成熟但尚未得到充分研究的相互作用。在介绍中，她问道：“一个残疾的粉丝研究是什么样子的？残疾球迷是谁，在哪里？他们的经历是什么？”(2)。文章的其余部分是她对这些问题的回答。安德森·豪厄尔本人在个人、专业和学术上都对残疾很熟悉。她自己也是残疾人，还要抚养两个神经分化的孩子。她是一名有执照的专业美容师，她说她经常与残疾人客户合作，同时也是一名独立的学者和活动家。作为一名独立学者，安德森·豪厄尔的意图似乎是通过残疾学者的身份，反对通常排斥残疾学者的学术严谨性，从而削弱研究。对这样一个研究不足的利基领域（如粉丝空间）进行跨学科分析，很适合由独立学者进行调查。在引言中，Anderson Howell阐述了她的三个意图：通过基于残疾的视角分析粉丝研究，观察粉丝空间中的可访问性和态度障碍，以及残疾粉丝如何与粉丝圈互动，粉丝圈如何与残疾角色互动。这是一项艰巨的任务，作者在这项努力中取得了巨大的进步，特别是在这样一个规模。任何“阿卡凡”，或者像她所描述的学术迷，都可能会发现自己既会质疑为什么残疾和粉丝的特定交集没有被纳入其中，又会在她的一个章节中发现意想不到的内容。这本书涵盖了相当多的主题，但在第一章中也提供了关于残疾和风扇研究的基本信息。在这样做的过程中，安德森·豪厄尔确保读者能够与她的讨论中更小众的部分抗衡。她的第二章讲述了粉丝大会，以及cons如何努力容纳残疾人参与者和小组成员，创造了她所谓的“访问噩梦”，残疾人根本无法参加活动（16）。在第三章中，她审视了种族主义和残疾主义在人们对叶的看法中的交叉点，叶原名坎耶·韦斯特（Kanye West），但同时也指出，他的精神健康状况并没有使他免受反犹主义和其他形式的偏见的影响。第四章分析了tumblr、Archive of Our Own （AO3）、Instagram和TikTok等残疾用户似乎聚集的几个社交媒体平台，是较强的章节之一。安德森·豪厄尔接着研究了角色的自闭症编码，一个角色被描绘成有自闭症相关的特征，但从来没有正式宣布这个角色真的是自闭症；她主要关注BBC的《神探夏洛克》和《社区》中的阿布蒂。下一章讨论了同人小说的世界，特别是关于伤害/安慰的比喻，它通常依赖于突然的，致残的伤害，留下挥之不去的影响和慢性疼痛，这是另一个强有力的章节。她的最后两章关注的是抖音美容博主，包括那些明显面部差异的博主，以及针对黑人博主的种族主义，然后是残疾反粉丝，他们试图让别人相信残疾人是在假装。安德森·豪厄尔的出色之处在于，他设法深入分析了粉丝圈的几个不同方面，以及这些方面与残疾之间的关系和作用，但仍保持了本书的简洁。这本书的一些领域相当密集，深入探讨了残疾、性别或种族理论，而另一些领域则比较轻松，比如社交媒体的元素。书中强调的主题数量惊人，读起来发人深省。“Fandom”这个词既来源于媒体的虚构作品，也来源于非虚构现象的粉丝，如铁路和体育。在现代，fandom更容易让人联想到虚构的媒体，尤其是动漫、电子游戏、漫画书以及相关媒体、奇幻系列等。安德森·豪厄尔把叶和抖音的美妆博主都包括进来，这是一个有趣而出乎意料的选择，尽管在对粉丝构成的更宽松定义上并没有错。在某些方面，这种范围对这本书来说既是有利的，也是不利的。有了这么多的主题，组织也在挣扎。书中有概念性章节，随后是特定领域的具体案例研究，但结构并不明显。例如，关于惯例中的可访问性的章节紧接着是关于叶的章节，还有几章是关于算法的章节和关于社交媒体上的美容博主的章节分开的。 然而，值得作者称赞的是，将安德森·豪厄尔选择的无数主题联系起来是很困难的。看看笔记和参考文献，安德森·豪厄尔为这本书投入了大量的时间和精力。粉丝研究，尤其是存在于网络空间的粉丝研究，因为被引用而具有吸引力。除了来自美国国立卫生研究院和学术期刊的信息外，人们很难从我们自己的档案中找到Reddit和同人小说的引用。安德森·豪厄尔通过将个人在线帖子与同行评议的资料编织在一起，创造了一个引人注目的故事。不管有什么批评，安德森·豪厄尔的书是一本引人入胜的书，深入探讨了粉丝空间中残疾的错综复杂的网络，对于想要进一步发展其中一个讨论领域的学者来说，它将是一个有用的基础和起点。虽然她提供了这么多，但扇子和残疾研究的世界是如此之大，以至于她的书让人想要进一步探索。
{"title":"Disability and Fandom. By Katherine Anderson Howell. New York: New York University Press, 2024. 232 pp. $95.00 (pbk). ISBN: 978-1-60-938967-3","authors":"Chayyim Kornhauser","doi":"10.1111/jpcu.70025","DOIUrl":"https://doi.org/10.1111/jpcu.70025","url":null,"abstract":"<p>Few disciplines lend themselves to being able to grapple with Comic-Con, fanfiction, rap music, autism, makeup and cosmetic culture, among others. As Katherine Anderson Howell shows, there is well-developed, yet understudied, interplay between disability and fandom in her succinctly-titled text, <i>Disability and Fandom</i>. In the introduction, she asks, “What would a disabled fan studies look like? Who and where are the disabled fans? What are their experiences?” (2). The rest of the text is her answer to those queries.</p><p>Anderson Howell herself is familiar with disability personally, professionally, and academically. She is disabled herself and is raising two neurodivergent children. She works professionally as a licensed esthetician, which she says she often works with disabled clients, and is also an independent scholar and activist. Anderson Howell's intention as an independent scholar seems to be to crip fan studies by being a disabled scholar and standing against academic rigor, which is often exclusionary to disabled academics. An interdisciplinary analysis of such an under-researched niche, such as fandom spaces, lends itself well to being investigated by an independent scholar.</p><p>In Introduction, Anderson Howell lays out her intentions, which are threefold: analyze fan studies through a disability-based lens, look at accessibility and attitudinal barriers in fan spaces, and how disabled fans interact with fandom as well as fandom interacts with disabled characters. This is a large undertaking, and the author makes great strides in this endeavor, particularly of such a magnitude. Any “acafan,” or academic fan as she describes, would likely find themselves both questioning why a particular intersection of disability and fandom was not incorporated but also find an unexpected inclusion in one of her chapters.</p><p>The book covers quite a few topics, but also provides fundamental information about both disability and fan studies in the first chapter. In doing so, Anderson Howell ensures that the reader is able to contend with the more niche parts of her discussion. Her second chapter speaks to fan conventions and how cons struggle with accommodating disabled participants and panelists, creating what she calls “access nightmares” where disabled people are simply unable to participate in the event (16). In the third chapter, she looks at the intersections of racism and ableism in perceptions of Ye, formerly known as Kanye West, but while also addressing that his mental health does not negate him from the consequences of antisemitism and other forms of bigotry. The fourth chapter analyzes several social media platforms that disabled users seem to congregate on, such as tumblr, Archive of Our Own (AO3), Instagram, and TikTok, and is one of the stronger chapters. Anderson Howell then looks at the autistic coding of characters, where a character is portrayed to have traits associated with autism, but it is never formally announced th","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"58 6","pages":"336-337"},"PeriodicalIF":0.2,"publicationDate":"2025-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jpcu.70025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145792363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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