Harry Potter

Total Page:16

File Type:pdf, Size:1020Kb

Harry Potter Tuesday, May 14, 2013 The Tech 9 FANDOM It’s difficult to separate the concept of nerdiness from MIT. The Coop sells stickers that say Nerd Pride, our mascot is the beaver (nature’s engineer), and Conan O’Brien pokes fun at MIT’s nerdiness on his Twitter. But is the Institute truly a nerdy place? The Tech surveyed the undergraduate population of MIT to settle this question. 1402 students — 31 percent of the under- graduate body — responded. 76 percent of students surveyed 76% of students identified their high school stereo- identified as a nerd type as “nerd,” but are they really? 47 percent of MIT has seen every 10% as preps episode of Star Wars. Only 8 percent watch anime, and 12 percent read 8% as jocks comic books/manga, but the entire school (like much of the world) seems to adore Harry Potter. To limit the breadth of our special, we kept the scope of our survey to media related fandoms like books, television, movies, and video games. We excluded sports and music since both categories are enormous and could merit their own surveys. We were interested in examining whether or not the ste- reotype of MIT as a nerd haven is true to life. In the following pages, you’ll find data from our survey, a spotlight of fandom- based groups at MIT, and an interview with a Comparative Me- dia Studies lecturer about fandoms. Featured are members of our community who shed their Brass Rats to don costumes and become someone else — to cosplay. We spoke with a variety of students about their favorite things, and polled the average American using Mechanical Turk to reveal what their percep- tions of MIT are for comparison. So is MIT truly the home of the Nerdy? It’s up to you to see the data and decide for yourself! Please write to us with your thoughts at [email protected] and may the Force be with you as you embark on the summer! —Jessica J. Pourian ’13 and Connor Kirschbaum ’13 Coordinators Contributing Editors Jessica J. Pourian ’13 Connor Kirschbaum ’13 Editors Anne Cai ’14 Kali Xu ’15 Jacob Austin-Breneman ’13 Production Judy Hsiang ’12 Aislyn Schalck ’13 Annia Pan ’15 10 The Tech Tuesday, May 14, 2013 The Tech 11 Cosplay, from Page 10 to other cosplayers online,” she said. While costumes aren’t required Wang is aware of this issue for con attendance, once you co- as well, and is planning for her next Iron Man splay once it’s difficult to go back to costume to be a Daft Punk / Tron normal attire, the cosplayers said. Legacy crossover. “I’m going to “I think it would “It feels kind of weird to be at continue cosplaying androgynous/ at the one of these conventions and NOT desexualized/masked characters; be a shame be in costume,” Brian Chan ’02, an there’s a different convention expe- if none of the instructor at the MIT Hobby Shop, rience under the helmet.” Institute said. Others are fans of gijinka, a co- best Iron Man splay style where you anthropo- One of the interesting cos- Picking a character morphize a character and repre- costumes came tumes we came across was an With thousands of fictional char- sent it without actually being the out of MIT.” Iron Man suit created by Brian acters to choose from, cosplayers character. Chan ’02, an instructor at the tend to gravitate towards their fa- “You can’t dress up as Pokémon MIT hobby shop. “I like Iron vorite characters, and those who without suits, and that’s a whole Man because it has a good sto- would be fun to act out. different world,” said Vega, whose ry of a self-made super hero,” “I choose from things I’m really Glaceon outfit was an example of he said, “Also, in the series, invested in because that will prob- gijinka. Tony Stark is an MIT Alum, so ably transfer over to the costume,” Gijinka can make it easy to go in I think it would be a shame if said Waln, who adored the Assas- a group. Jacobs, Vega, and Arianna none of the best Iron Man cos- sin’s Creed games. “Doing costumes all dressed as Eeveelutions when at- tumes came out of MIT.” take a really long time, and you have tending Anime Boston. Chan’s costume is not only to want to be making it.” “I like to costume in groups,” Ja- visually appealing, but it is cobs said. “That’s why Pokémon is a functioning piece of engi- usually a good idea, there are lots of neering. It is “made from a big “Cosplaying alone options for everybody.” Jacobs has combination of old-school and also cosplayed in a group as Twi- modern methods,” Chan said. is awkward. light Sparkle (from My Little Pony). After sketching the cos- “Cosplaying alone is awkward,” tume and modeling it virtual- Especially on she said, “especially on the T. If ly, Chan 3D printed the gloves the T. If you’re by you’re by yourself, people start using shapeways.com and the staring.” facilities at the Hobby shop. yourself, people He waterjet-cut and laser-cut Creation of a costume many of the panels and CNC- start staring.” Cosplayers typically plan the milled the others. costumes for a convention far in “Even with all the tech, I Time to pretend advance of the event. Designing a have to put a lot of handcraft- Wang also chooses her costumes costume can take anywhere from a ing time into the costumes, based on how comfortable she feels week to six months to a year. with carving, filing, and sew- The Tech takes an inside look at cosplaying at MIT — playing a character for a long period The worst night? The cosplayers ing the components that of time. all agree — right before the con. couldn’t quite be made by how students take their engineering skills and apply “While I’d be able to pull off “Most of the work is done the machine.” a Sailor Scout costume based on night before,” said Paula Jacobs ’13. All the lights on the cos- them to crafting the perfect costume. looks,” Wang said, “I’d much rather “I was practically tooling to get tume are hand-soldered, he walk around as Surge [from X-Men] the Journey costume done,” Ahearn said. because I’m more comfortable with mused. “It’s Parkinson’s Law — the character, fandom, and outfit.” work expands to fill the time to allot By Jessica J. Pourian is a popular art at conventions and with being a full-time student at pass my classes,” Vega said. But for stressed out with school. Costuming “I generally like to pick some- its completion.” CONTRIBUTING EDITOR festivals. MIT? the most part “as long as it doesn’t was my way of de-stressing.” thing I already have the hair for,” Creating a costume isn’t cheap, Waln’s Ezio costume cost her make something, someone else has er’s machine or one that belongs to MIT has a fair share of cosplay- “It’s difficult,” laughed Michael interfere with [my] studies,” it seems Both Waln and Vega got into cos- added Waln, “I can’t stand wearing either. Cost for a single character $200 and six months of work. Chan already made something a lot like the dorm, the classic item is still the 30 percent of MIT students who ers in its student body. They’ve co- Ahearn ’13, who has cosplayed as to be fine. tuming because of their mothers. wigs, they itch SO BAD.” can range drastically. Some cos- said that most of his costumes are it.” Vega said. best way to make costumes. responded to The Tech’s survey splayed as everything from Harry a number of Homestuck characters Vega’s parents aren’t the only Waln’s mother taught her to sew in Sometimes physical appearance tumes can be assembled for free a few hundred dollars, “if [he] bud- “Everyday office supplies,” can But fabric and fortunate finds (427 people) have dressed up as a Potter and Doctor Who (the 11th!) as well as the protagonist of the ones who see cosplay as an odd use the 7th grade, and she’s been mak- can act as a barrier — “There aren’t from the right selection of items gets well.” Chan saves money by be incredibly useful said Waln. She in the dollar store aren’t the only character from Harry Potter, Fire- to a variety of Pokémon (Raichu, Playstation 3 hit Journey. “Basically of their children’s time. ing her own costumes ever since. that many fictional characters of from a cosplayer’s current closet reusing materials — his Iron Man made the hidden blades for her Ezio thing you need to cosplay — some- fly, Star Trek, Star Wars, or Lord of the Eeveelutions etc.) ,to anime if I’m working on a cosplay and it’s “My parents see it as a time sink,” color,” said Jacobs, who is plan- and a good touch of makeup, while costume has parts that are made costume out of “paper, popsicle times more expensive materials are the Rings. While many of this num- (Neon Genesis Evangelion is a popu- close to the deadline I almost per- said Helena Wang ’15, whose favor- ning to do a Storm (from X-Men) the price of materials for others can from soda cans and scraps from the sticks, a little bit of epoxy putty, rub- needed. ber are very likely casual fans who lar choice) and video game (Team ceive it as another due date along ite cosplay is Zer0 from Borderlands “I’ve stayed away costume soon.
Recommended publications
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • A Portrait of Fandom Women in The
    DAUGHTERS OF THE DIGITAL: A PORTRAIT OF FANDOM WOMEN IN THE CONTEMPORARY INTERNET AGE ____________________________________ A Thesis Presented to The Honors TutoriAl College Ohio University _______________________________________ In PArtiAl Fulfillment of the Requirements for Graduation from the Honors TutoriAl College with the degree of Bachelor of Science in Journalism ______________________________________ by DelAney P. Murray April 2020 Murray 1 This thesis has been approved by The Honors TutoriAl College and the Department of Journalism __________________________ Dr. Eve Ng, AssociAte Professor, MediA Arts & Studies and Women’s, Gender, and Sexuality Studies Thesis Adviser ___________________________ Dr. Bernhard Debatin Director of Studies, Journalism ___________________________ Dr. Donal Skinner DeAn, Honors TutoriAl College ___________________________ Murray 2 Abstract MediA fandom — defined here by the curation of fiction, art, “zines” (independently printed mAgazines) and other forms of mediA creAted by fans of various pop culture franchises — is a rich subculture mAinly led by women and other mArginalized groups that has attracted mAinstreAm mediA attention in the past decAde. However, journalistic coverage of mediA fandom cAn be misinformed and include condescending framing. In order to remedy negatively biAsed framing seen in journalistic reporting on fandom, I wrote my own long form feAture showing the modern stAte of FAndom based on the generation of lAte millenniAl women who engaged in fandom between the eArly age of the Internet and today. This piece is mAinly focused on the modern experiences of women in fandom spaces and how they balAnce a lifelong connection to fandom, professional and personal connections, and ongoing issues they experience within fandom. My study is also contextualized by my studies in the contemporary history of mediA fan culture in the Internet age, beginning in the 1990’s And to the present day.
    [Show full text]
  • Orienting Fandom: the Discursive Production of Sports and Speculative Media Fandom in the Internet Era
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository ORIENTING FANDOM: THE DISCURSIVE PRODUCTION OF SPORTS AND SPECULATIVE MEDIA FANDOM IN THE INTERNET ERA BY MEL STANFILL DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications with minors in Gender and Women’s Studies and Queer Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor CL Cole, Co-Chair Associate Professor Siobhan Somerville, Co-Chair Professor Cameron McCarthy Assistant Professor Anita Chan ABSTRACT This project inquires into the constitution and consequences of the changing relationship between media industry and audiences after the Internet. Because fans have traditionally been associated with an especially participatory relationship to the object of fandom, the shift to a norm of media interactivity would seem to position the fan as the new ideal consumer; thus, I examine the extent to which fans are actually rendered ideal and in what ways in order to assess emerging norms of media reception in the Internet era. Drawing on a large archive consisting of websites for sports and speculative media companies; interviews with industry workers who produce content for fans; and film, television, web series, and news representations from 1994-2009 in a form of qualitative big data research—drawing broadly on large bodies of data but with attention to depth and texture—I look critically at how two media industries, speculative media and sports, have understood and constructed a normative idea of audiencing.
    [Show full text]
  • MAD SCIENCE! Ab Science Inc
    MAD SCIENCE! aB Science Inc. PROGRAM GUIDEBOOK “Leaders in Industry” WARNING! MAY CONTAIN: Vv Highly Evil Violations of Volatile Sentient :D Space-Time Materials Robots Laws FOOT table of contents 3 Letters from the Co-Chairs 4 Guests of Honor 10 Events 15 Video Programming 18 Panels & Workshops 28 Artists’ Alley 32 Dealers Room 34 Room Directory 35 Maps 41 Where to Eat 48 Tipping Guide 49 Getting Around 50 Rules 55 Volunteering 58 Staff 61 Sponsors 62 Fun & Games 64 Autographs APRIL 2-4, 2O1O 1 IN MEMORY OF TODD MACDONALD “We will miss and love you always, Todd. Thank you so much for being a friend, a staffer, and for the support you’ve always offered, selflessly and without hesitation.” —Andrea Finnin LETTERS FROM THE CO-CHAIRS Anime Boston has given me unique growth Hello everyone, welcome to Anime Boston! opportunities, and I have become closer to people I already knew outside of the convention. I hope you all had a good year, though I know most of us had a pretty bad year, what with the economy, increasing healthcare This strengthening of bonds brought me back each year, but 2010 costs and natural disasters (donate to Haiti!). At Anime Boston, is different. In the summer of 2009, Anime Boston lost a dear I hope we can provide you with at least a little enjoyment. friend and veteran staffer when Todd MacDonald passed away. We’ve been working long and hard to get composer Nobuo When Todd joined staff in 2002, it was only because I begged. Uematsu, most famous for scoring most of the music for the Few on staff imagined that our three-day convention was going Final Fantasy games as well as other Square Enix games such to be such an amazing success.
    [Show full text]
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [Show full text]
  • Views with Girls, and a Research Blog That Explains My Project to My Research Subjects in Understandable Language
    DISTINCTLY DIGITAL: Subjectivity and Recognition in Teenage Girls’ Online Self-Presentations DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Adriane Brown Graduate Program in Women's Studies The Ohio State University 2011 Dissertation Committee: Mary Thomas, Advisor; Jill Bystydzienski; Linda Mizejewski; Julia Watso Copyright by Adriane Brown 2011 Abstract This dissertation examines the ways that teenage girls’ online interactions reflect their psychic and social struggles to negotiate contradictory and constricting discourses regarding contemporary American girlhood. Literature on girls’ online interactions has tended to fall into one of two categories. In the first, scholars sound alarms about the ubiquity of risk in digital spaces (for instance, on websites that supposedly promote eating disorders). In the second, scholars celebrate the ways that teenagers engage in social activism online. In contrast, I argue that emergent media scholarship often fails to question the messages of autonomous selfhood that characterize girls’ digital personas. I utilize feminist and psychoanalytic theories of subjectivity to suggest that girls’ voices and agencies are always embedded in normative ideals of gender, race, sexuality, and class. I examine a variety of digital spaces that cover a diverse range of contemporary American girlhoods, including queer girls’ MySpace pages, pro-bulimia message boards, and fan sites for young musicians such as Taylor Swift. I utilize a three-pronged methodology: analysis of the textual and visual elements of websites, instant messenger interviews with girls, and a research blog that explains my project to my research subjects in understandable language.
    [Show full text]
  • Downloading Through Unauthorized Channels with Stealing Items from a Store
    VHS 2.0: AMATEUR ARCHIVING ON THE INTERNET AND THE NOSTALGIC RECLAMATION OF RETRO MEDIA by Dax Sorrenti A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Dax Sorrenti, 2012 Abstract The archiving of retro media on the internet has become one of the more prolific examples of amateur archiving in recent years. Using various case studies, I argue for a new understanding of how this orphaned and obsolete media preserves important nostalgic and cultural histories. Not only this, but the preservation of niche film and television programming deserves recognition for the intricate and complex work of amateur archivists, in the aims of validating their work and viewing the sharing of this material as more than simple file sharing. Often providing the only means by which to access material, these archival sites preserve history through its media output, and I provide a glimpse into the motivations and machinations of their inner workings. In need of protection from legal prosecution, and lacking a clear understanding of their place amongst contemporary media in the mainstream, I argue for a nostalgic reclamation of this material, that can co-exist alongside other media with little to no harm. ii Preface The original research for this study, including all correspondence with individuals and the study of website communities, has been approved by the UBC Behavioural Research Ethics Board, certificate H11-02519. iii Table of Contents Abstract.............................................................................................................................. ii Preface............................................................................................................................... iii Table of Contents ............................................................................................................
    [Show full text]
  • From Textual Poachers to Textual Gifters: Exploring Fan Community and Celebrity in the Field of Fan Cultural Production
    From Textual Poachers to Textual Gifters: Exploring Fan Community and Celebrity in the Field of Fan Cultural Production by Bertha Catherine LP Chin School of Journalism, Media & Cultural Studies Cardiff University 15 November 2010 UMI Number: U584515 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584515 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SUMMARY Early fan studies positioned fans as ‘textual poachers’ (Jenkins, 1992), suggesting that fans poach characters and materials from texts as an act of resistance towards commercial culture to form their own readings through fan cultural production such as fan fiction. As such, fans are often presented as a unified, communal group interacting within the context of fan communities that are considered alternative social communities with ‘no established hierarchy’ (Bacon-Smith, 1992, p. 41). However, Milly Williamson argued that fans do not all operate from a position of cultural marginality. Fans not only go on to collaborate with the media producers they allegedly poach from, they also “engage in elitist distinctions between themselves and other...fans” (Williamson, 2005, p.
    [Show full text]
  • Haruhi in Usa: a Case Study of a Japanese Anime in the United States
    HARUHI IN USA: A CASE STUDY OF A JAPANESE ANIME IN THE UNITED STATES A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Ryotaro Mihara August 2009 © 2009 Ryotaro Mihara ALL RIGHTS RESERVED ABSTRACT Although it has been more than a decade since Japanese anime became a popular topic of conversation when discussing Japan, both within the United States and in other countries as well, few studies have empirically investigated how, and by whom, anime has been treated and consumed outside of Japan. This research thus tries to provide one possible answer to the following set of questions: What is the empirical transnationality of anime? How and by whom is anime made transnational? How is anime transnationally localized/consumed? In order to answer the questions, I investigated the trans-pacific licensing, localizing, and consuming process of the anime The Melancholy of Haruhi Suzumiya (Haruhi) from Japan to the United States by conducting fieldwork in the United States’ agencies which localized Haruhi as well as U.S. anime and Haruhi fans. The central focus of this research is the ethnography of agencies surrounding Haruhi in the United States and Japan. I assume that these agencies form a community with a distinctive culture and principles of behaviors and practices in the handling of the Haruhi anime texts. The research findings to the above questions could be briefly summarized as follows. The worldview, characters, and settings of Haruhi (i.e. a fictious world of Haruhi which is embodied and described through its anime episodes and other related products) “reduces” and “diffuses” as it is transferred on the official business track from the producers in Japan to the localizers in the United States (i.e.
    [Show full text]
  • Download (1MB)
    City Research Online City, University of London Institutional Repository Citation: Price, L. ORCID: 0000-0001-7747-4210 (2014). The Sims: A Retrospective – A Participatory Culture 14 Years On. Intensities: The Journal of Cult Media(7), pp. 135-140. This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25266/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Intensive: Cult Media Review August 2014 www.intensitiescultmedia.com The Sims: A Retrospective A Participatory Culture 14 Years On Ludovica Price City University London Keywords: The Sims, SimCity, Participatory Culture, Video Games, Cult Media, Sandbox Games, EA Games, Games Franchises, Fandom, Gamics, Machinima. In February 2000, games company EA/Maxis re- bestselling game of the first half of 2000 (Kline et al. leased one of the most successful games of the new 2003: 270), and the franchise continued its popular- millennium, a game that broke the previous mould ity with its various expansion packs, spin-offs and of platformers and first-person shooters (Kline et al.
    [Show full text]
  • THE GLOBAL APPEAL of KOREAN TELEVISION DRAMAS a Thesis Submitted to the Faculty of the Graduate
    MELODRAMATIC AND FORMULAIC: THE GLOBAL APPEAL OF KOREAN TELEVISION DRAMAS A Thesis submitted to the FAculty of the Graduate School of Arts and Sciences of Georgetown University in partiAl fulfillment of the requirements for the degree off MAster of Arts in CommunicAtion, Culture and Technology By KAthryn Grace HArtzell, B.A. WAshington, D.C. April 16, 2019 Copyright 2019 by KAthryn Grace HArtzell All Rights Reserved ii MELODRAMATIC AND FORMULAIC: THE GLOBAL APPEAL OF KOREAN TELEVISION DRAMAS KAthryn Grace HArtzell, B.A. Thesis Advisor: MAtthew Tinkcom, Ph.D. ABSTRACT International fervor for KoreAn pop culture has constituted a contra-flow against Western mediA hegemony. Since 1997, the global rise of South KoreA’s entertAinment industries has come to be known as the KoreAn WAve, or Hallyu. Contra-flows—subaltern cultural exchanges that move in opposition to Western hegemonic mediA (Thussu 2007, 11)—Are complex, under-investigated, And controversiAl in their importAnce as they exhibit what Arjun Appadurai describes as “disjunctures between economy, culture, and politics” (Appadurai 1996, 33). In contra-flow, cApitAlist power structures are insufficient to understAnd why mediA texts are disseminated across borders, cultures, or lAnguage. This study expands on the investigation of the KoreAn WAve by examining one of its central entertAinment exports—KoreAn dramAs—for their exhibition of hybridized and glocAlized genre conventions. I employ a multimethod approach to both estAblish the cinemAtic lAnguage through which KoreAn dramAs tell their stories and to test the sAlience of this framework with non-KoreAn audiences. First, I anAlyze five KoreAn dramAs populAr with English-speAking viewers—utilizing a close reAding—for their use of a melodramAtic narrative mode.
    [Show full text]
  • Emma Keates Mr. Taylor AP English 14 March 2014
    Emma Keates Mr. Taylor AP English 14 March 2014 Shattering the Fourth Wall: The Evolution of Fan Influence On The Creative Process In Television Today, it is impossible to watch television without actively becoming a fan of something. Even if a person does not identify as a member of any particular fandom, a basic working knowledge of the season’s most popular shows, plots, and characters has become a requirement of cultural literacy. To be considered in the know, there is a pressure to participate in everything from workplace conversations about Walt and Jesse’s latest drug-filled escapades on the previous night’s Breaking Bad, to passionate arguments about which Game of Thrones highborn should truly sit on Westeros’ iron throne, to critical dissections of the gossip among the staff on Downton Abbey. Whether it be sports, aliens, doctors, dysfunctional families, vampires, or dragons, fan culture in all its forms and variations has clearly become a staple of modern society. Fandom is omnipresent and inescapable in our 21st century world, but this was certainly not always the case. While people tend to broadly associate Star Trek with early fan culture, in her comprehensive essay, “A Brief History of Media Fandom,” cultural scholar Francesca Coppa explains that the concept of modern fandom was first born in the letter writing section of the 1926 science fiction magazine Amazing Stories, which provided readers with the first “interactive element…by publishing fan’s addresses, [allowing] science fiction fans to contact each other directly.”1 The opinions and discussions begun in these early letters soon evolved into a small number of DIY-style “zines,” entirely fan produced publications consisting of writing, art, and analysis.
    [Show full text]