DOCSLIB.ORG

Pop Meets Satire. Ãœber Pop-Satire in Den USA Und Deutschland

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pop Meets Satire. Ãœber Pop-Satire in Den USA Und Deutschland University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2009 Pop Meets Satire. Über Pop-Satire in den USA und Deutschland. Moritz Konrad Kevin Keller University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the German Language and Literature Commons Recommended Citation Keller, Moritz Konrad Kevin, "Pop Meets Satire. Über Pop-Satire in den USA und Deutschland.. " Master's Thesis, University of Tennessee, 2009. https://trace.tennessee.edu/utk_gradthes/38 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Moritz Konrad Kevin Keller entitled "Pop Meets Satire. Über Pop-Satire in den USA und Deutschland.." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in German. Maria Stehle, Major Professor We have read this thesis and recommend its acceptance: Stefanie Ohnesorg, Dan Magilow Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Moritz Konrad Kevin Keller entitled “Pop Meets Satire. Über Pop-Satire in den USA und Deutschland.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in German. Maria Stehle, Major Professor We have read this thesis and recommend its acceptance: Stefanie Ohnesorg Dan Magilow Accepted for the Council: Carolyn R. Hodges, Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) Pop Meets Satire. Über Pop-Satire in den USA und Deutschland. A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxville Moritz Konrad Kevin Keller August 2009 Für meine Eltern ….und ein bisschen auch für meine Geschwister ii Im Idealfall ist Pop populär und subversiv zugleich. (Andreas Neumeister)1 Eine Satire kann einen Taifun auslösen. Manchmal. (Markus Brauck)2 Jeder Deutsche soll pro Jahr ein Buch veröffentlichen. Mindestens. *…+ Dass die meisten nicht schreiben können, wird dadurch ausgeglichen, dass sie auch nichts zu sagen haben. (Harald Schmidt)3 1 Gansel/Neumeister 192. 2 Brauck 82. 3 Schmidt 11. iii Abstract This thesis defines a kind of satire that wasn’t dealt with before in depth: “Pop- Satire”. This form of satire uses the stylistic elements of pop for satiric purposes. That means that Pop-Satire uses phenomena and elements of everyday culture and popular culture in a satiric way. The analysis of “Pop-Satire” begins in “Pop-Literatur,” then proceeds to satire magazines and finally TV shows are analyzed. The analysis in different media also follows a comparative approach, contrasting American and German literary texts, magazines, and finally TV shows in order to highlight similarities and differences in both cultures. The examined works are Bret Easton Ellis’ American Psycho, Christian Kracht’s Faserland, Benjamin von Stuckrad-Barre’s Soloalbum, several issues of The Onion and Titanic, as well as Die Harald Schmidt Show and South Park. All works were produced in the 1990s or the 2000s. The thesis challenges the common interpretation of the “New German Pop- Literatur” as being conservative or completely unpolitical. “Pop-Satire” expresses political views of the “Generation Golf” or “Generation X”. This work states that these generations try to leave old categories behind and develop new forms of critical engagement. iv The “pop-satiric” texts, which were analyzed in this thesis, thus seemed to have several elements in common, namely post-modern elements like multiple-layered irony undermining all moral institutions given by the text, leaving unclear who or what was actually really satirized and moving the moral authority entirely to the recipient. They all share the attempt to protest against dominant cultural ways of thinking in one way or another. In Germany “Pop-Satire” is taking an anti-position to the mentality of the so- called “68 generation”, in the US it is taking an anti-position to political correctness. In both cases some sort of left-liberalism is seen as the main enemy. However, unlike many earlier analyses of these works suggest, they don’t contain an affirmation of conservative ideals in response. They rather share post-modern elements and express a “post-political” attitude. v Table Of Contents Chapter Page 1. „‚Pop-Satire’? Wie ‚Pop-Satire’?“ – Einleitung ..................................................... 1 2. Pop Meets Satire – Die Theorie ............................................................................ 10 2.1. Vorbemerkungen............................................................................................... 10 2.2. Pop .................................................................................................................... 10 2.3. Satire ................................................................................................................. 24 2.4. Pop Meets Satire = Pop-Satire? ........................................................................ 37 3. Pop-Satire in (Pop-)Literatur ................................................................................ 42 3.1. Vorbemerkungen............................................................................................... 42 3.2. American Psycho – Amerikanische Pop-Satire ................................................ 43 3.3. Faserland – Deutsche Pop-Satire? .................................................................... 48 3.4. Soloalbum – Deutsche Pop-Satire? ................................................................... 56 3.5. Fazit: Pop-Satire in Pop-Literatur ..................................................................... 67 4. Pop-Satire in Satire-Zeitschriften ......................................................................... 70 4.1. Vorbemerkungen............................................................................................... 70 4.2. Pop-Satire in The Onion.................................................................................... 71 4.3. Pop-Satire in Titanic ......................................................................................... 84 4.4. Fazit: Pop-Satire in Satire-Zeitschriften ......................................................... 101 5. Pop-Satire Im Fernsehen ..................................................................................... 103 5.1. Vorbemerkungen............................................................................................. 103 5.2. Pop-Satire in der Harald-Schmidt-Show ......................................................... 105 5.3. Pop-Satire in South Park ................................................................................. 121 5.4. Fazit: Pop-Satire im Fernsehen ....................................................................... 134 6. Nochmal: Das Wichtigste zu Pop-Satire – Schluss ............................................ 137 Bibliographie ................................................................................................................... 143 Vita .................................................................................................................................. 151 vi 1. „‚Pop-Satire’? Wie ‚Pop-Satire’?“ – Einleitung Eine bestimmte Szene aus Woody Allens Manhattan von 1979 ist immer wieder ein Genuss: Sie spielt auf einem Gala-Dinner und es scheint ein beachtlicher Teil der (finanziellen und intellektuellen) New Yorker Elite versammelt. Die Atmosphäre ist entsprechend elitär, alles sieht teuer aus. Die Gäste tragen Abendgarderobe: die Damen Abendkleider, die Herren Fräcke mit Fliege. Unter diesen Gästen ist auch der von Woody Allen gespielte Protagonist Isaac. Wie eigentlich sonst auch nirgends, scheint er auch hier nicht hinein zu passen: Er fühlt sich in der abgehobenen Atmosphäre und den seichten Konversationen sichtlich unwohl und wirkt dennoch intellektueller als seine Gesprächspartner, die lediglich affektierter scheinen. Schließlich wechselt er das Thema weg vom vorherrschenden „small talk“ und schneidet ein ihn offensichtlich beschäftigendes Thema an: „Hey, has anybody read that nazis are gonna walk in New Jersey? *…+ We should really go down there, get some guys together, you know, get some bricks and baseball bats and really explain things to them’!“ Einer seiner Gesprächspartner scheint auch über das Thema informiert zu sein, geht aber nicht direkt auf den Vorschlag ein: „There is this devastating satirical piece on that *…+ in the Times,“ entgegnet er, „it is – devastating.“ Isaac scheint damit allerdings nicht zufrieden zu sein. „Satirical piece in the Times is one thing, but ‚bricks and baseball bats’ really gets to the point.“ Eine der Damen in dieser Runde wiederum scheint keine 1 Gewaltanhängerin zu sein. „A really biting satire is always better than physical force,“ argumentiert sie. Isaac entgegnet:
Load more

Recommended publications
  • Haverford College Catalog 2003-2004
    HAVERFORD COLLEGE CATALOG 2003-2004 1 HAVERFORD COLLEGE ACADEMIC CALENDAR 2003-2004 SEMESTER I August 27 First-year and transfer students arrive August 30-31 Returning students arrive August 31 Non-academic registration September 1 Labor Day; Classes begin at Haverford, Bryn Mawr, and Swarthmore September 5 Last day to uncover NNG-CR/NO CR from previous semester September 8-9 Final academic verification at Haverford and Bryn Mawr September 9 Last day to register - Class of 2007 September 19 Last day to request NNG-CR/NO CR at Haverford and Bryn Mawr Last day to drop a credit at Haverford and Bryn Mawr October 10 Fall break begins at 4:00 p.m. October 20 Classes resume at 8:30 a.m. October 20-24 Faculty reports of concern to CSSP due October 24 Academic flexibility proposals due End of 1/2 semester courses October 24-26 Family Weekend/Homecoming November 13-14 Registration for spring semester November 26 Thanksgiving break begins at 4:00 p.m. December 1 Classes resume at 8:30 a.m. December 12 Classes end at Haverford and Bryn Mawr All papers (except those in lieu of exams) and lab note- books due December 13-14 Reading period December 15-20 Final examinations for all students through Saturday at 12:00 noon December 20 Semester I ends at 12:00 noon January 5 Final grades due in registrar's office by 12:00 noon 2 SEMESTER II January 19 Classes begin at Haverford, Bryn Mawr, and Swarthmore January 23 Last day to uncover NNG-CR/NO CR from previous semester January 26-27 Final academic verification at Haverford and Bryn Mawr February 6 Last day to request NNG-CR/NO CR at Haverford and Bryn Mawr Last day to drop a credit at Haverford and Bryn Mawr March 5 End of i/2 semester courses Spring break begins at 4:00 p.m.
    [Show full text]
  • The Top of the Poppers Sing and Play Punk
    Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.
    [Show full text]
  • Goldsmiths 87 0079879 6
    Stand-Up Comedy and Everyday Life: Post-war British Comedy and the Subversive Strain. Christopher Ritchie. Goldsmiths College, London, Ph. D Drama, 1998. - ME Ia- AM GOLDSMITHS 87 0079879 6 Abstract. This thesis "examinee,,, its to life , . stand-up comedy and relation everyday and presents a model of everyday life in the commodity society. It seeks to define stand up comedy and how it works as a performance mode and will offer a definition of the stand-up comedian. It will examine how jokes reflect opinions and attitudes within everyday life and how they can communicate negative cultural myths, stereotypes and ideologies but also reach beyond the merely absurd and comical to present authentic moments that enable us to locate the truth about ourselves. The thesis seeks to locate a stand-up comedy that enables us to understand ourselves in relation to life in the commodity society. The thesis traces a subversive lineage through post-Second World War comedy from The Goon Show through the satirists of the 1960s and Monty Pylhon's Flying Circus to Alternative Comedy and stand-up comedians in the present day. The 'Alternative Comedy moment' between 1979 and 1981 is central to the thesis as is the relation to American stand-up comedy, Punk and the rise of reactionary humour in Britain. Alternative Comedy is identified and placed in a social, political and counter-cultural context. The achievements and failures of this comedy will be discussed with particular focus on the redefinition of the role of women and sexual politics in stand-up comedy and the creation of a thriving London cabaret and comedy scene.
    [Show full text]
  • AAIG Survey Essay No 2 GALLEY Final
    Periodizing and Historicizing German Afro-Americanophilia: From Counterculture to Post-Soul (1968–2005) Moritz Ege, University of Munich Andrew Wright Hurley, University of Technology Sydney This essay continues our thinking through of the implications of scholarship on what we have called ‘Afro-Americanophilia’ in twentieth century Germany. We set out our reasons for using this term in the introduction to this special edition; however it is worth stressing again here that the term is intended to designate the African-American- centredness of German interest in black culture, as opposed to the more generically ‘African’ that Negrophilia connotes, a term which is also often linked with a very specific phase in European culture, the 1920s.1 Especially in the wake of technologies like the jukebox, radio, film and television, and after defeat and Allied occupation in WWII, there has been a distinct German engagement with African American culture(s).2 Our term includes a deliberate juxtaposition (Black Power prefix; Greek suffix), which is intended to prompt attention to the tensions and ambiguities running through the ‘love.’ It is important to conceive of the complexity and implications of this love. In the 1 As in our previous joint essay, the culturally constructed yet crucial categories ‘black’ and ‘white’ will not be put in quotation marks or begin with a capital letter on the following pages (unless there is a context of identity politics and emphatic cultural pride among protagonists), but they should nonetheless be read as highly debated, unstable signifiers (with real-world references and effects in experiences, identities and politics), not as ‘neutral’, sociological denominations.
    [Show full text]
  • BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ the FINANCIAL TIMES the OBSERVER
    BFI FILM SALES Selective Catalogue Autumn 2018 ‘A REAL GEM’ ‘POIGNANT & BEAUTIFULLY ACTED’ THE FINANCIAL TIMES THE OBSERVER SYNOPSIS Luke (Steven Brandon), a young man with Down’s syndrome who prizes his independence, is forced into a care home after the death of his mother. There he rails against the restrictions imposed on him, but his frustrations are allayed by his budding friendships with his care-worker Eve (Shana Swash) and a ‘Richly mysterious feral girl (Pixie Le Knot). rewarding... Debut director Jane Gull has crafted a sensitive, poignant and creditably naturalistic drama that lingers in the memory; anchored around Brandon’s seek it out’ superb lead performance. Mark Kermode, BBC Radio 5 BFI, 21 Stephen Street, LONDON W1T 1LN, United Kingdom | [email protected] MY FERAL HEART My Feral Heart is the multi-award winning, BIFA-nominated, NFA and IARA-winning 2017 debut from Jane Gull. It’s been dubbed ‘the small British indie with a mighty heart UK that everyone is talking about’ after it garnered terrific critical notices and became 83 mins a cinema-on-demand sensations. Its UK theatrical release graced 125 screens BBFC 12A/12 before its run ended on 21 March 2017 (World Down Syndrome Day) and grossed £52k. Colour 5.1 & Stereo Mixes available The film was released on DVD and EST in the UK on 27 November, ahead of its Director Jane Gull UK PayTV premiere on Sky Cinema on World Down Syndrome Day 2018. In its Writer week of release the film was #1 in both the DVD and Digital Download ‘Amazon Duncan Paveling UK Movers and Shakers Charts’.
    [Show full text]
  • Political Comedy Engagement Genre Work, Political Identity and Cultural Citizenship Doona, Joanna
    Political comedy engagement Genre work, political identity and cultural citizenship Doona, Joanna 2016 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Doona, J. (2016). Political comedy engagement: Genre work, political identity and cultural citizenship. (1 ed.). Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 JOANNA DOONA JOANNA Printed by Media- Tr yck, Lund University 2016 Nor Political comedy engagement Political comedy engagement While broadcast news struggles to attract young audiences, political comedy is becoming more and more popular. To understand this dic Ecolabel 3041 0903 Political comedy engagement popularity, this thesis explores audience engagement in political comedy among Swedish young adults – focussing on how it encourages Genre work, political identity and cultural citizenship citizenship, both in the political and the cultural sense.
    [Show full text]
  • Postdramatic Theatre
    Postdramatic Theatre Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s has become a key reference point in inter- national discussions of contemporary theatre. Postdramatic Theatre refers to theatre after drama. Despite their diversity, the new forms and aesthetics that have evolved have one essential quality in common: they no longer focus on the dra- matic text. Lehmann offers a historical survey combined with a unique theoretical approach, illustrated by a wealth of practical examples, to guide the reader through this new theatre landscape. He considers these developments in rela- tion to dramatic theory and theatre history, and as an inventive response to the emergence of new technologies and a historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of drama and theatre from Aristotle, Hegel, Szondi and Brecht to Barthes, Lyotard and Schechner, the book analyses the work of recent experimental theatre practi- tioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, The Wooster Group, Needcompany and Societas Raffaello Sanzio. This excellent translation is newly adapted for the Anglophone reader, including an introduction by Karen Jürs-Munby which provides useful theoret- ical and artistic contexts for the book. Hans-Thies Lehmann is Professor of Theatre Studies at the Johann Wolfgang Goethe Universität, Frankfurt am Main, Germany. His numerous publications include Theater und Mythos (1991) on the constitution of the subject in ancient Greek tragedy, Writing the Political (2002) and, with Patrick Primavesi, Heiner Müller Handbuch (2004). Karen Jürs-Munby is Senior Lecturer in Drama, Theatre and Performance at the University of Huddersfield.
    [Show full text]
  • British-Arab Communities
    BASELINE RESEARCH TO ASSESS EXISTING RESEARCH ON BRITISH-ARAB COMMUNITIES JULY 2020 July 2020 The Council for Arab-British Understanding (Caabu) Visit Caabu’s website www.caabu.org, follow us on Twitter @caabu and like our Facebook page. Become a Caabu member and support our work! 1 2 Acronyms and Abbreviations § BAME Black, Asian and minority ethnic § CAABU Council for Arab British Understanding § LA Local Authority § LB London Borough § ONS Office for National Statistics § PLASC Pupil Level Annual School Census § CSO Civil Society Organisation § MENA Middle East and North Africa § GCC Cooperation Council for the Arab States of the Gulf Disclaimer Views expressed in this report represent those of the author and Caabu, and not necessarily the views of the many organisations and British-Arabs that supported this project. 3 BASELINE RESEARCH TO ASSESS EXISTING RESEARCH ON BRITISH-ARAB COMMUNITIES JULY 2020 Figure 1: Family Day event at Liverpool Arab Arts Festival 2019. Photographer: AB Photography. 4 PREFACE Caabu has always believed that British-Arab communities can and will play an even more vital role in British life. Our role is to help accelerate that process. We have for over six months, led by my colleague Kholood Mohammad, been collating existing research on British-Arab communities, and assessing what we might know or not know. It is based on the sincere belief that vibrant, confident, participative British-Arab communities are a huge asset to this country and that as it stands, and the research bears out, we do not know or understand enough about their successes, achievements and also challenges.
    [Show full text]
  • Playing It Queer: Understanding Queer Gender, Sexual and Musical Praxis in a 'New' Musicological Context
    Playing It Queer: Understanding Queer Gender, Sexual and Musical Praxis in a 'New' Musicological Context Author Taylor, Jodie Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3154 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366992 Griffith Research Online https://research-repository.griffith.edu.au Playing it Queer Understanding Queer Gender, Sexual and Musical Praxis in a ‘New’ Musicological Context Jodie Taylor BMus (Music Technology) BMus (Hons) (Musicology) Queensland Conservatorium of Music Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree of Doctor of Philosophy November 2008 Key Words Bio queens; camp; drag; drag kings; gay; gender; genderfuck; heteronormativity; homosexuality; identity; lesbian; music; musicology; performance; performativity; play; queer; queercore; queer theory; sex; sexuality. Key Words i Abstract Across ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study. An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs.
    [Show full text]
  • Montana Kaimin, December 4, 1981 Associated Students of the University of Montana
    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 12-4-1981 Montana Kaimin, December 4, 1981 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, December 4, 1981" (1981). Montana Kaimin, 1898-present. 7329. https://scholarworks.umt.edu/studentnewspaper/7329 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. New phone system possibility montana for UM, other Montana schools By Deb Thiele more than one-half million most inexpensively transmit the Kaimin Reporter dollars. call. The line could be a WATS The University of Montana Mountain Bell is a subsidiary line, microwave line or a direct- kaim in and two other Montana Universi­ of AT&T. dial line. Friday, December 4, 1981 Missoula, Mont. Vol. 84, No. 37 ty System schools may look into “There is no guarantee it (a new • Cueing — if a number being an alternative telephone system system) would reduce the cost,” called was busy, the caller could S_________________ ;________________ r with an independent phone com­ Neraas said, “but Mountain Bell program his phone to ring when pany to replace the current isn’t going to give the university the number he was trying to system with Mountain Bell.
    [Show full text]
  • Television Theory Today
    TELEVISUAL CULTURE After the Break TELEVISION THEORY TODAY EDITED BY Marijke de Valck Jan Teurlings AMSTERDAM UNIVERSITY PRESS After the Break TELEVISUAL CULTURE The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture. Televisual culture is a culture which both encompasses and crosses all aspects of television from its experiential dimensions to its aesthetic strategies, from its tech- nological developments to its crossmedial consequences. Concepts like liveness, media event, audiences, broadcasting need recasting as problematics around which the televisual will get interrogated within a dynamic media landscape. Rather than accept the narrative of television’s obsolescence, the series aims at seriously analyzing both the contemporary specificity of the televisual and the challenges thrown up by new developments in technology and theory in an age where digitalization and convergence are redrawing the boundaries of media. Series Editors: Sudeep Dasgupta, Joke Hermes, Jaap Kooijman, Markus Stauff After the Break Television Theory Today Edited by Marijke de Valck and Jan Teurlings Amsterdam University Press This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humani- ties and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Cover design: Kok Korpershoek, Amsterdam Lay-out: Heymans & Vanhove, Goes isbn 978 90 8964 522 7 e-isbn 978 90 4851 867 8 (pdf) e-isbn 978 90 4851 868 5 (ePub) nur 674 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) M.
    [Show full text]
  • Undergraduate Tuition and Financial Aid
    HOOD COLLEGE 2019-2020 CATALOG HOOD COLLEGE 2019-2020 CATALOG | 1 TABLE OF CONTENTS Academic Calendar 2019-2020 ..................................................................................................................................................................................................................................... 4 Communicating with the College ................................................................................................................................................................................................................................. 7 A Hood College Education ............................................................................................................................................................................................................................................. 8 The Spirit of Hood .......................................................................................................................................................................................................................................................... 11 Student Services .............................................................................................................................................................................................................................................................. 15 Academic Departments and Programs of Study .....................................................................................................................................................................................................
    [Show full text]