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Sue Matheson Sue Matheson STATEMENT I got hooked on the study of popular culture in 1999 when I presented a paper at the SW/Texas PCA/ACA, because the PCA/ACA is an outstanding organization. Its inclusiveness, openness, scholarly rigor, and welcoming of diverse perspectives encourage tremendous intellectual and scholarly growth. Every year, I look forward to the collaborative, enjoyable atmosphere created by Helen Lewis and my colleagues in the Western Area. This is the sixth national conference (in a row) that I’ve been able to attend and my third year of service on the advisory board of the Journal of American Culture. It is time for me to contribute to the memory of Ray and Pat Browne and to give back to the PCA/ACA. As a governing board member, I would do my utmost to promote the open and friendly conversation that is the hallmark of this organization, safeguard the welfare of every PCA/ACA member by building consensus, insure the financial health and scholarly stability of the PCA/ACA, and enhance our growing national and international profile. My familiarity with the PCA/ACA, solid publication record in the area of popular culture, successful years of service as the Western Area Chair at Film&History, and growing experience as a Chair at my home institution enable me to offer well-developed skills to help foster a successful future for our organization. I’m a good listener, an enthusiastic colleague, and a responsible steward. It would be an honor to serve you all on the PCA/ACA Board. Contributions to PCA/ACA Matheson, Sue PCA/ACA Service Advisory Board, member. The Journal of American Culture, 2012 to present. PCA/ACA Presentations “Friendship Algorithms: bromance, womance, and heterosexual bonding in six seasons of The Big Bang Theory.” To be presented at the 2015 PCA/ACA National Conference in New Orleans, Louisiana, April 1-4, 2015. Panel participant, “Making Westerns Since 1990,” 2014 PCA/ACA National Conference in Chicago, Illinois, 16-19 April 2014. “Telling the People about Fort Robinson: Ethics and the Rights of Human Beings in Cheyenne Autumn (1964).” Presented at the 2014 PCA/ACA National Conference in Chicago, Illinois, 19 April 2014. “John Ford, Little Wolf, and the Absolute Good in Cheyenne Autumn (1964).” To be presented at the 2014 SW/TX PCA/ACA Conference in Albuquerque, New Mexico, 22 February 2014. “Take us home again Kathleen: John Ford’s critique of combat culture and regeneration (through violence) in Rio Grande 1950.” Presented at the PCA/ACA National Conference in Washington, D.C., 30 March 2013. “Romancing the tragicomedy of war: the absurdity of love and Civil War iconography in John Ford's The Horse Soldiers (1959). Presented at the PCA/ACA National Conference in Boston, Massachusetts, 13 April 2012. “Love and Death in Presbyterian Church: an examination of genre conventions in Robert Altman’s Western elegy, McCabe and Mrs. Miller (1971).” Presented at the 2011 PCA/ACA National Conference in San Antonio, Texas, 21 April, 2011. “…loaded down with fat men and iron:” Carnival in Henry Hathaway’s True Grit (1969).” Presented at the Midwest PCA /ACA Conference in Minneapolis, Minnesota, 3 October 2010. “The Night John Wayne Didn’t Dance with Shirley Temple: duty, dance, and deconstruction in John Ford’s Fort Apache (1948).” Presented at the PCA/ACA National Conference in St. Louis, Missouri, 2 April 2010. 1 “‘What makes a man to wander?’: John Ford’s critique of the good bad man, war, and Cold War hysteria in The Searchers (1956).” Presented at the Midwest PCA/ACA Conference in Cincinnati, Ohio, 4 October 2008. “Stirrup Leathers, Frying Pans, Hats, and Cacti: iconographic deconstruction of the legend in John Ford’s The Man Who Shot Liberty Valance (1962).” Presented at the Midwest PCA/ACA Conference in Kansas City, Missouri, 14 October 2007. “An Unsuitable Woman / an Unsuitable Job: P.D. James’ Cordelia Gray.” Presented at the Midwest PCA/ACA Conference in Indianapolis, Indiana, 29 October 2006. “Radical Repast/Subversive Snacks: Sue Grafton’s Culinary Critique of Mainstream America.” Delivered at the PCA/ACA 2004 National Conference in San Antonio, Texas, 10 April 2004. “Creatures of the Night Brought to Light: Psychic Transformation, Symbol and Metaphor in Peter S. Beagle’s The Last Unicorn.” Delivered at the SW/TX PCA/ACA Conference in Albuquerque, New Mexico, 26 February 1999. Popular/American Culture Publications John Ford: Director, Patriot, and Critic—1917 to 1964. Lanham, Maryland: Scarecrow Press. Forthcoming 2015. Papers on Iconography and Archetype in Western Film and Television. Eds. Sue Matheson and Andrew Patrick Nelson. Jefferson, NC: McFarland. Forthcoming 2016. Love in Western Film and Television. Ed. Sue Matheson. New York: Palgrave MacMillan, 2013. "Good neighbors, moral philosophy and the masculine ideal in Mister Rogers’ Neighborhood." Revisiting Mister Rogers’ Neighborhood: Friendship and Community in the Digital Age. Eds. Kathy Jackson Merlock and Steven Emmanuel. Jefferson: N.C.: McFarland Press. Forthcoming 2015. “Delmar Daves and the “adult” Western: auteur elements and the ordinary in Cowboy (1958).” ReFocus: The Films of Delmar Daves. Eds. Matthew Carter and Andrew Patrick Nelson. Series Eds. Robert Singer and Gary D. Rhodes. Edinburgh: University of Edinburgh Press. Forthcoming 2015. 2 “From Page to Screen: dysfunction, subtext, and platonic idealism in Mary Poppins (1964).” Walt Disney and His Narratives: From Reader to Storyteller. Eds. Kathy Merlock Jackson and Mark I. West. Lanham, Maryland: Scarecrow Press, 2014: 148-165. “South Meets North: Snow Comedy, W.C. Fields, and the Northern Prospector.” Horizons North: contact, education, and culture above the 53rd parallel. Eds. Sue Matheson and John Butler. Newcastle on Tyne: Cambridge Scholars Publishing, 2013: 135-47. Reprint. “The Professional Western Revised: Southern Diaspora, Frontier Heteroglossia, and Audience Nostalgia.” From Dances with Wolves to Red Dead Redemption: The Western, 1990-2010. Eds. Andrew P. Nelson and Emma Hamilton. Lanham, MD: Scarecrow Press, 2013: 77-90. “‘When you side with a man, you stay with him!’: the importance of philia in Sam Peckinpah’s The Wild Bunch (1969).” Love in Western Film and Television: Lonely Hearts and Happy Trails. Ed. Sue Matheson. New York: Palgrave McMillan, 2013: 225-238. “‘The West--re-animated and regenerated: Hollywood horror and Western iconography in Gore Verbinski’s Rango (2011).” Undead in the West: Vampires, Zombies, Mummies and Ghosts on the Cinematic Frontier. Eds. Cynthia Miller and Bow Van Riper. Lanham, MD: Scarecrow Press, 2012: 65-79. “‘Let’s go home, Debbie’: the matter of blood pollution, combat culture, and Cold War hysteria in The Searchers (1956).” WESTERNS: THE ESSENTIAL JOURNAL OF POPULAR FILM AND TELEVISION COLLECTION. Eds. Gary R. Edgerton and Michael Marsden. London and New York: Routledge, 2012: 103-17. Reprint. “John Ford on the Cold War: Stetsons and Cast Shadows in The Man Who Shot Liberty Valance (1962).” The Journal of Popular Culture 45.2 (April 2012): 357-69. “‘Let’s go home, Debbie’: the matter of blood pollution, combat culture, and Cold War hysteria in The Searchers (1956).” The Journal of Popular Film & Television 39.2 (2011): 50-58. “Atavism and eating raw meat: London, Nietzsche, and Rousseau in Robert Flaherty’s Nanook of the North (1922).” The Journal of Popular Film & Television 39.1 (2011): 12-19. “Individualism, Bentham’s Panopticon, and counterculture in Robert Aldrich’s The Dirty Dozen (1967).” The Journal of Popular Film & Television 36.4 (Winter 2009):180-89. 3 “‘Drinking those moments when’: the importance of science fiction B invasion films and Hollywood icons in The Rocky Horror Picture Show (1975).” Reading Rocky Horror: The Rocky Horror Picture Show and Popular Culture. Ed. Jeffrey Wienstock. New York: Palgrave Press, 2008: 20-43. “Food Is Never Just Something To Eat: Sue Grafton’s Culinary Critique of Mainstream America.” The Journal of Popular Culture 41.5 (October 2008): 809-22. “‘We kill all our giants cubbin’: cultural diagnosis (and prognosis) in T.H. White’s The Once and Future King.” Critical Essays on T.H. White, English Novelist. In Mellen Studies in Literature. English and American Studies. Ed. Gill Davies. London: Mellen Press, 2008: 71-92. “Cordelia Gray—a private dick with dishpan hands: hardboiled elements, gothic conventions, and provisional feminism in An Unsuitable Job for a Woman.” StoryTelling: A Critical Journal of Popular Narrative. 8:1 (Summer 2008): 5-15. “He Who Eats Meat Wins: Appetite, Power, and Nietzsche in the novels of Ian Fleming.” Nietzsche and Literature. In Popular Culture and Philosophy Series. Eds. James South and Jacob Held. Chicago: Open Court, 2006: 63-78. “Caricature, secular shamanism, and cultural compensation in Hunter S. Thompson’s Fear and Loathing: On The Campaign Trail ’72 and Fear and Loathing in Las Vegas.” Journal of Kentucky Studies 22 (September 2005): 86-95. “Psychic Transformation and the Regeneration of Language in Peter S. Beagle’s The Last Unicorn.” The Lion and The Unicorn: A Critical Journal of Children’s Literature 29:3 (September 2005): 416-26. “The West—Hardboiled: Adaptations of film noir elements, existentialism and ethics in John Wayne’s Westerns.” The Journal of Popular Culture 38.5 (August 2005): 888-910. “Primitive Masculinity / ‘Sophisticated Stomach’: Gender, Appetite, and Power in the Novels of Ian Fleming.” CEA Critic 67.1 (Fall 2004): 15-24. “Smoky the Cowhorse: The Beast Fable Goes West.” BESTIA 2 (May 1990): 119-24. “C.S. Lewis and the Lion: Primitivism and Archetype in the Chronicles of Narnia.” Mythlore 15.1 (1988): 13-19. 4 VITA Sue Matheson Phone: 1-204-623-2714 (home) P.O. Box 2856 Messages: 1-204-627-8627 (office) The Pas, MB E-mail: [email protected] R9A 1M7 Citizenship: Canadian EDUCATION Ph.D. University of Manitoba 1994 Dissertation: Psychonarrative: an interdisciplinary generic approach.
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