DOCSLIB.ORG

The Popular Culture Studies Journal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Popular Culture Studies Journal THE POPULAR CULTURE STUDIES JOURNAL VOLUME 3 NUMBERS 1 & 2 2015 Editor BOB BATCHELOR Miami University Associate Editors KATHLEEN TURNER NORMA JONES Aurora University Kent State University Reviews Editor JENNIFER C. DUNN Dominican University Assistant Reviews Editor SAMANTHA LATHAM Independent Scholar Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture-studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2015 Midwest Popular and American Culture Association. All rights reserved. Cover photo credits Cover Artwork: "I Selfie, Therefore I Am" by Brent Jones © 2015 The Thinker, Main: Public Domain "The Thinker, Auguste Rodin" by Karora The Thinker Phone: Creative Commons "Wikimania15 Dschwen (77)" by Daniel Schwen under CC BY 3.0 Selfie Stick: "Casual man using a selfie stick shot in studio" by Wavebreakmedia licensed by PhotoDune EDITORIAL ADVISORY BOARD ANTHONY ADAH JUSTIN GARCIA Minnesota State University, Moorhead Millersville University AARON BARLOW ART HERBIG New York City College of Technology (CUNY) Indiana University - Faculty Editor, Academe, the magazine of the AAUP Purdue University, Fort Wayne JOSEF BENSON ANDREW F. HERRMANN University of Wisconsin Parkside East Tennessee State University PAUL BOOTH JARED JOHNSON DePaul University Thiel College GARY BURNS JESSE KAVADLO Northern Illinois University Maryville University of St. Louis KELLI S. BURNS KATHLEEN A. KENNEDY University of South Florida Missouri State University ANNE M. CANAVAN WILLIAM KIST Emporia State University Kent State University ERIN MAE CLARK LARRY Z. LESLIE Saint Mary’s University of Minnesota University of South Florida BRIAN COGAN MATTHEW MIHALKA Molloy College University of Arkansas - Fayetteville ASHLEY M. DONNELLY LAURIE MOROCO Ball State University Colorado Mountain College LEIGH H. EDWARDS CARLOS D. MORRISON Florida State University Alabama State University VICTOR EVANS SALVADOR MURGUIA Seattle University Akita International University ANGELA M. NELSON SARAH MCFARLAND TAYLOR Bowling Green State University Northwestern University PAUL PETROVIC KATHLEEN TURNER Independent Scholar Aurora University LAUREANO RALON MARYAN WHERRY Figure/Ground Communication Western Illinois University Quad-Cities PHIL SIMPSON SHAWN DAVID YOUNG Eastern Florida State College York College of Pennsylvania THE POPULAR CULTURE STUDIES JOURNAL VOLUME 3 NUMBERS 1 & 2 2015 CONTENTS Popular Culture Theory 2.0 1 Bob Batchelor ARTICLES “Wake up and smell the internet, Grandma”: Literacy, 5 Masculinity, and Sexuality in Modern Family and Fan Culture Laura A. Detmering Prisoners and Guards: Bob Dylan, George Jackson, and Popular 34 Memory Theodore G. Petersen Interactivity in Contemporary Gothic Horror Cinema 65 Maria Beville All Too Human: Xander Harris and the Embodiment of the 85 Fully Human Andrew F. Herrmann and Art Herbig Becoming “Boss” in La reina del sur: Negotiating Gender in a 113 Narcotelenovela Jennifer C. Dunn and Rogelia Lily Ibarra The Lyrics of Leiber and Stoller: A Cultural Analysis 139 Anthony Esposito INTERVIEW The Popular Culture Studies Journal Interview 173 PATRICIA LEAVY SPECIAL ISSUE Connecting the Personal and the Popular: Autoethnography and Popular Culture Guest Editors: Jimmie Manning and Tony Adams Popular Culture Studies and Autoethnography: An Essay on 187 Method Jimmie Manning and Tony Adams Lights, Camera, Silence: How Casting Processes Foster 223 Compliance in Film and Television Performers Stephanie Patrick Living the Romance Through Castle: Exploring 245 Autoethnography, Popular Culture and Romantic Television Narratives Michaela D. E. Meyer The Makings of a Boyfriend: Doing Sexuality through Parasocial 270 Relationships M. Cuellar Still Standing, Still Here: Lessons Learned from Mediated 299 Mentors in my Academic Journey Janice D. Hamlet Skin Tone and Popular Culture: My Story as a Dark Skinned 324 Black Woman Renata Ferdinand Taking Out the Trash: Using Critical Autoethnography to 349 Challenge Representations of White Working-Class People in Popular Culture Tasha R. Rennels Belonging in Movement: Appalachian Racial Formation, White 364 Flight, and Lived Experience Sandra Carpenter Sandra Carpenter The Evil Woodcutter and the Amazon Jungle: What Comics 386 Have Taught Me About the Environment Moana Luri de Almeida Popular Fictions and Unspeakable Family Stories: Weaving an 415 Autoethnography through Shame and Deviance L. N. Badger Embracing the F Word: Growing Up as a Reluctant Feminist 447 Linda Levitt Raising (Razing?) Princess: Autoethnographic Reflections On 458 Motherhood and The Princess Culture Sherianne Shuler Pretty Pretty Princesses: Hegemonic Femininity and Designated 487 Masculinity Gary T. Strain Using Celebrities to Teach Autoethnography: Reflexivity, 505 Disability, and Stigma Julie-Ann Scott REVIEWS 520 Introduction Jennifer C. Dunn Books That Cook: The Making of a Literary Meal, Edited by Jennifer Cognard-Black and Melissa A. Goldthwaite Samuel Boerboom U2 Above, Across, and Beyond: Interdisciplinary Assessments, Edited by Scott Calhoun William Kist Plucked: A History of Hair Removal by Rebecca Herzig Jennifer L. Adams Clarity, Cut, and Culture: the Many Meanings of Diamonds by Susan Falls Salvador Jimenez Murguia Diana and Beyond: White Femininity, National Identity, and Contemporary Media Culture by Raka Shome Kerry B. Wilson Age in America: The Colonial Era to the Present, Edited by Corrine T. Field and Nicholas L. Syrett Gina Marie Ocasion Advertising and Propaganda in World War II: Cultural Identity and the Blitz Spirit by David Clampin James J. Kimble Kids Gone Wild: From Rainbow Parties to Sexting, Understanding the Hype over Teen Sex by Joel Best and Kathleen A. Bogle Phillip E. Wagner Ethnic Dress in the United States: A Cultural Encyclopedia by Annette Lynch and Mitchell D. Strauss Mary Alice Adams Adaptation Studies: New Challenges, New Directions, Edited by Jørgen Bruhn, Ann Gjelsvik, and Eirik Frisvold Hanssen Ezra Claverie Sex and the Cthulhu Mythos by Bobby Derie Brett Lunceford Captain America, Masculinity, and Violence: The Evolution of a National Icon by J. Richard Stevens Christopher J. Olson The Power of Comics: History, Form, and Culture by Randy Duncan, Matthew Smith, and Paul Levitz Norma Jones and Kathleen M. Turner Roger Waters and Pink Floyd: The Concept Albums by Phil Rose Mark Cruea The Interview, Directed by Evan Goldberg and Seth Rogen Christopher J. Olson Black Male Frames: African Americans in a Century of Hollywood Cinema, 1903-2003 by Roland Leander Williams, Jr. Samuel Allen The Yellow Peril: Dr Fu Manchu & The Rise of Chinaphobia by Christopher Frayling Deborah Allison Orienting Hollywood: A Century of Film Culture Between Bombay and Los Angeles by Govil Nitin Gordon Alley-Young Fantasies of Identification: Disability, Gender, Race by Ellen Samuels Salvador Jimenez Murguia A Book about the Film Monty Python and the Holy Grail: All the References from African Swallows to Zoot by Darl Larsen Joey Watson Aging Heroes: Growing Old in Popular Culture, Edited by Norma Jones and Bob Batchelor Samantha Latham The Colorblind Screen: Television in Post-Racial America, Edited by Sarah Nilsen and Sarah E. Turner Stephanie L. Young Complex TV: The Poetics of Contemporary Television Storytelling by Jason Mittell Heather Stilwell Reading Joss Whedon, Edited by Rhonda V. Wilcox, Tanya R. Cochran, Cynthia Masson, and David Lavery Andrew F. Herrmann, East Tennessee State University Lucky Strikes and a Three Martini Lunch : Thinking About Television’s Mad Men, Edited by Jennifer C. Dunn, Jimmie Manning, and Danielle M. Stern Megan Wood Justified and Philosophy: Shoot First, Think Later, Edited by Rod Carveth and Robert Arp Amanda Boyle Making Media Work: Cultures of Management in the Entertainment Industries by Derek Johnson, Derek Kompare, and Avi Santo Donna M. Elkins ABOUT THE CONTRIBUTORS 618 Popular Culture Theory 2.0 BOB BATCHELOR Let’s take a rather selfless view and say that popular culture studies has won. The macro perspective: while the world might not be awash in popular culture departments, academe is inundated with scholars essentially doing popular culture studies, but under a different guise. Scratch just a millimeter below the surface of most cultural studies, critical cultural communications, gender, race, and historical studies and one finds a popular culture project merely under a different name. Given the universal application of popular culture as a scholarly topic, it is not a stretch to declare victory for the popular culture popularizers that we claim as our forbearers, many in the great academic cradle of the American Midwest: Ray B. Browne, John G. Cawelti, Michael T. Marsden, Russel B. Nye, and Fred E. H. Schroeder. Looking again at Pioneers in Popular Culture Studies, edited by Browne and Marsden (1999), [which I never tire doing], I am struck by the how the editors branded themselves and their upstart colleagues as both “change agents” and “pioneers.” The former transforms, while the latter discovers. Their final plea still rings true: “Education is too precarious to squander” (3). Yet, let’s also be frank, and say that one still face “challenges” as a popular culture scholar, ranging from the arrogant view that popular culture studies is merely puffed-up “fandom,” thus not a serious “line of inquiry,” to the walls some have built that delineate between popular culture from other fields. [We won’t even go into the absurdity of this skirmish in an era marked by pervasive
Load more

Recommended publications
  • Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
    Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media.
    [Show full text]
  • Exposing Exoticism – the Near and the Far in the Exhibition Context
    Exposing exoticism – the near and the far in the exhibition context Elisa de Souza MARTINEZ University of Brasilia, Brazil National Council for Scientific and Technological Development, Brazil This article analyzes a set of situations drawn from the exhibition La Triennale 2012 – Intense Proximité, held at the Palais de Tokyo in Paris, from April 20 to August 26, 2012. In this exhibition, the curatorial discourse is seen as playing a mediating role, making the vision possible, i.e. providing the context of the scopic relations to be descibed. Its role is to make the vision possible, i.e. it provides the context of the scopic relations to be described. In this case, the enunciator-curator defines the conditions in which the displayed objects are seen, and in which the visitors see. Thus, the analysis of situations (Landowski 1996) that constitute visibility regimes defines the scopic relations. La Triennale highlights the ethnographic image, which is seen as an art object, while at the same time art objects are seen as ethnographic documents. Displayed in a contemporary art event, ethnographic images express ethnographic content, and therefore play an ambiguous role. In any case, the function assigned to the image, whether artistic or ethnographic, allows one to consider, at the fundamental level of analysis, a semantic category that unfolds into two opposite terms: fictional and documental. The objects chosen by the addresser-curator, Okwui Enwezor, confront the addressee- visitor with a broader problem than the distinction between artistic or ethnographic function. Considering that these functions manifest themselves simultaneously to variable degrees in each element of the exhibition-text, one finds that the same image can have a dual function, hindering its classification in a single field of epistemological relations.
    [Show full text]
  • AGE NO. TITLE ACTORS 12 6140 2012 J.Cusack/A.Peet/T.Newton 12
    AGE NO. TITLE ACTORS 12 6140 2012 J.Cusack/A.Peet/T.Newton 12 7072 Insurgent S.Woodley/K.Winslet/T.James U 6575 Monster in Paris 15 7102 "71 J.O'Connell 12 5025 10 Things I Hate about You 12 5025 10 Things I Hate about You 12 6713 10 Years -The Reunion- L.Collins/R.Dawson/J.Dewan-Tatum/B.Geraghty 12 5907 10.000 BC S.Strait/C.Belle/C.Curtis U 6336 101 Dalmatians II -Disney- 15 6997 12 Years a Slave C.Ejiofor/M.Fassbender/B.Cumberbatch 15 6383 127 Hours J.Franco/A.Tamblyn/K.Mara 12 5195 13 Going on 30 15 7112 13 Minutes (Elser) C.Friedel/K.Schütter/B.Klausner/J.Von Bülow Oliver Hirschbiegel 15 5011 13th Warrior 15 5799 1408 -S.King- J.Cusack/S.L.Jackson 12 5570 16 Blocks 12 6027 17 Again Z.Efron/L.Mann/T.Lennon/M.Trachtenberg 15 6641 2 Days in New York J.Delpy/C.Rock 12 6965 20 Feet From Stardom U 5188 20.000 Leagues under the Sea -Jules Verne- 15 6735 21 Days:The Eineken Kidnapping R.Hauer 15 6621 21 Jump Street J.Hill/C.Tatum 12 5848 27 Dressed K.Heigl/J.MarsdonM.Akerman 18 5070 28 Days Later 15 6850 2Guns D.Washington/M.Wahlberg 12 7020 3 Days to Kill K.Costner/A.Heard/H.Steinfeld 15 5812 3:10 too Yuma R.Crowe/C.Bale 15 6646 388 Arletta Avenue N.Stahl/M.Kirsher 15 6238 4.3.2.1 E.Roberts/T.Egerton/O.Lovibond/S.Warren-Markland 12 6942 42 -the True Story of a Sprots Legend C.Boseman/H.Ford 15 6429 5 Days of War R.Friend/E.Chirqui/V.Kilmer/A.Garcia 15 6537 50/50 J.Gordon-Levitt/S.Rogen/B.Dallas Howard/A.Kendrick 12 6099 500 Days of Summer J.Gordon-Levitt/Z.Deschanel 15 5075 8 Mile 15 6796 A Good Day to Die Hard B.Willis/J.Courtney/S.Koch
    [Show full text]
  • Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
    “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics
    [Show full text]
  • Daniel Amos and Me: the Power of Pop Culture and Autoethnography
    Daniel Amos and Me: The Power of Pop Culture and Autoethnography ANDREW F. HERRMANN Nearly everyone I know has a relationship with something in popular culture, whether it is Buffy the Vampire Slayer, amassing The Astonishing X-Men comics, or collecting every version of every Star Wars movie. Relationships and pop culture: couldn’t that make an autoethnography? This is a short version of my relationship with a band, Daniel Amos. I am not in Daniel Amos. I don’t know the members of the band (although I am Facebook friends with them now). I first heard them in 1982 serendipitously. Or maybe it was destiny. Either way, they opened my eyes to the wonders, doubts, and excesses of my life, critiqued my faith, and brought me joy. I feel like I know them, and they me. Thirty-one years after first hearing them, I realize our relationship is one of the longest I have had. We grew up and are growing older together. Popular Culture Autoethnography? Pop culture and autoethnography: two terms seemingly at odds with each other. On the one side stands popular culture studies, with its interrogations of music (Albiez), television shows (Stern), video gaming (Dunn & Guadagno), movie genres (Carroll), characters (Herrmann, “C-can”) – including individuals who become “characters” (Herbig 133) – and its examinations of power and discourses in popular texts, broadly defined (Stern, Manning & Dunn). On the other side sits autoethnography, the narrative first-person examination of the self, used as a jumping off point to interrogate cultural practices (Holman Jones, Adams & Ellis). One examines culture and identity from the outside in, the other from the inside out.
    [Show full text]
  • The Voice-Over
    CINEPHILE The University of British Table of Contents Columbia’s Film Journal Vol. 8 No. 1 Spring 2012 Editor’s Note 2 “The Voice-Over” Contributors 3 ISSN: 1712-9265 About a Clueless Boy and Girl: Voice-Over in Romantic 5 Copyright and Publisher Comedy Today The University of British Sarah Kozloff Columbia Film Program What Does God Hear? Terrence Malick, Voice-Over, and 15 Editor-in-Chief The Tree of Life Babak Tabarraee Carl Laamanen Design Shaun Inouye Native American Filmmakers Reclaiming Voices: Innovative 21 Artwork Voice-Overs in Chris Eyre’s Skins Soroosh Roohbakhsh Laura Beadling Faculty Advisor The Voice-Over as an Integrating Tool of Word and Image 27 Lisa Coulthard Stephen Teo Program Administrator Gerald Vanderwoude Voice-Over, Narrative Agency, and Oral Culture: 33 Graduate Secretary Ousmane Sembène’s Borom Sarret Karen Tong Alexander Fisher Editorial Board Michael Baker, Chelsea Birks, Jonathan Cannon, Robyn Citizen, Shaun Inouye, Peter Lester Public Relations Dana Keller Web Editor Oliver Kroener Cinephile would like to thank the following offices and departments Printing at the University of British Columbia for their generous support: East Van Graphics Offices of the Vice President Research & International CINEPHILE is published by the Graduate Faculty of Arts Program in Film Studies at the Depart- Department of Asian Studies ment of Theatre and Film, University of Department of Central, Eastern and North European Studies British Columbia, with the support of the Department of Classical, Near Eastern and Religious Studies Centre for Cinema Studies Department of French, Hispanic and Italian Studies centreforcinemastudies.com Department of History Department of Philosophy UBC Film Program Department of Political Science Department of Theatre and Film Department of Psychology 6354 Crescent Road School of Library, Archival & Information Studies Vancouver, BC, Canada School of Music V6T 1Z2 Editor’s Note Contributors While it is true that film has been historically considered culture.
    [Show full text]
  • 2010 16Th Annual SAG AWARDS
    CATEGORIA CINEMA Melhor ator JEFF BRIDGES / Bad Blake - "CRAZY HEART" (Fox Searchlight Pictures) GEORGE CLOONEY / Ryan Bingham - "UP IN THE AIR" (Paramount Pictures) COLIN FIRTH / George Falconer - "A SINGLE MAN" (The Weinstein Company) MORGAN FREEMAN / Nelson Mandela - "INVICTUS" (Warner Bros. Pictures) JEREMY RENNER / Staff Sgt. William James - "THE HURT LOCKER" (Summit Entertainment) Melhor atriz SANDRA BULLOCK / Leigh Anne Tuohy - "THE BLIND SIDE" (Warner Bros. Pictures) HELEN MIRREN / Sofya - "THE LAST STATION" (Sony Pictures Classics) CAREY MULLIGAN / Jenny - "AN EDUCATION" (Sony Pictures Classics) GABOUREY SIDIBE / Precious - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) MERYL STREEP / Julia Child - "JULIE & JULIA" (Columbia Pictures) Melhor ator coadjuvante MATT DAMON / Francois Pienaar - "INVICTUS" (Warner Bros. Pictures) WOODY HARRELSON / Captain Tony Stone - "THE MESSENGER" (Oscilloscope Laboratories) CHRISTOPHER PLUMMER / Tolstoy - "THE LAST STATION" (Sony Pictures Classics) STANLEY TUCCI / George Harvey – “UM OLHAR NO PARAÍSO” ("THE LOVELY BONES") (Paramount Pictures) CHRISTOPH WALTZ / Col. Hans Landa – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) Melhor atriz coadjuvante PENÉLOPE CRUZ / Carla - "NINE" (The Weinstein Company) VERA FARMIGA / Alex Goran - "UP IN THE AIR" (Paramount Pictures) ANNA KENDRICK / Natalie Keener - "UP IN THE AIR" (Paramount Pictures) DIANE KRUGER / Bridget Von Hammersmark – “BASTARDOS INGLÓRIOS” ("INGLOURIOUS BASTERDS") (The Weinstein Company/Universal Pictures) MO’NIQUE / Mary - "PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE" (Lionsgate) Melhor elenco AN EDUCATION (Sony Pictures Classics) DOMINIC COOPER / Danny ALFRED MOLINA / Jack CAREY MULLIGAN / Jenny ROSAMUND PIKE / Helen PETER SARSGAARD / David EMMA THOMPSON / Headmistress OLIVIA WILLIAMS / Miss Stubbs THE HURT LOCKER (Summit Entertainment) CHRISTIAN CAMARGO / Col. John Cambridge BRIAN GERAGHTY / Specialist Owen Eldridge EVANGELINE LILLY / Connie James ANTHONY MACKIE / Sgt.
    [Show full text]
  • The Community-Centered Cult Television Heroine, 1995-2007
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 2010 "Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007 Tamy Burnett University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Visual Studies Commons Burnett, Tamy, ""Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007" (2010). Dissertations, Theses, and Student Research: Department of English. 27. https://digitalcommons.unl.edu/englishdiss/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 by Tamy Burnett A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Specialization: Women‟s and Gender Studies) Under the Supervision of Professor Kwakiutl L. Dreher Lincoln, Nebraska May, 2010 “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 Tamy Burnett, Ph.D. University of Nebraska, 2010 Adviser: Kwakiutl L. Dreher Found in the most recent group of cult heroines on television, community- centered cult heroines share two key characteristics. The first is their youth and the related coming-of-age narratives that result.
    [Show full text]
  • Will & Grace Data Report
    SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 1 WILL & GRACE DATA REPORT HISTORICAL UNIT COST ANALYSIS SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 2 [pronounced skwäd] For more than 4 decades, SQAD has provided dynamic research & planning data intelligence for advertisers, agencies, and brands to review, analyze, plan, manage, and visualize their media strategies around the world. ADVERTISING RESEARCH ANALYTICS & PLANNING SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 3 ABOUT THIS REPORT WILL & GRACE REPORT: HISTORICAL UNIT COST ANALYSIS DATA SOURCE: SQAD MediaCosts: National (NetCosts) Our Data SQAD Team has pulled historical cost data (2004-2006 season) for the NBC juggernaut, Will & Grace to see where the show was sitting for ad values compared to the competition; and to see how those same numbers would compete in the current TV landscape. The data in this report is showing the AVERAGE :30sec AD COST for each of the programs listed, averaged across the date range indicated. When comparing ad costs for shows across different years, ad costs for those programs have been adjusted for inflation to reflect 2017 rates in order to create parity and consistency. IN THIS REPORT: 2004-2005 Comedy Programming Season Comparison 4 2005-2006 Comedy Programming Season Comparison 5 2004-2006 Comedy Programming Trend Report 6 Comedy Finale Episode Comparison 7 Will & Grace -vs- 2016 Dramas & Comedies 8-9 Will & Grace -vs- 2017 Dramas & Comedies 10-11 SQAD REPORT: HISTORICAL UNIT COST ANALYSIS PAGE: 4 WILL & GRACE V.S. TOP SITCOMS ON MAJOR NETWORKS - 04/05 SEASON Reviewing data from the second to last season of Will & Grace, we see that among highest rated sitcoms on broadcast TV of the time, Will & Grace came out on top for average unit costs for a 30 second ad during the Fall 2004 season.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • The Songs of Bob Dylan
    The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ...............................................................................................................................
    [Show full text]
  • Undead, Gothic, and Queer: the Allure of Buffy
    Book Reviews UNDEAD, GOTHIC, AND QUEER: THE ALLURE OF BUFFY by Pamela O’Donnell Elena Levine & Lisa Parks, eds., UNDEAD TV: ESSAYS ON BUFFY THE VAMPIRE SLAYER. Durham, NC: Duke University Press, 2007. 209p. bibl. index. notes. ISBN 978-0-8223-4043-0. Rebecca Beirne, ed., TELEVISING QUEER WOMEN: A READER, New York: Palgrave Macmillan, 2008. 25p. bibl. index. notes. ISBN 0-230-60080-8. Benjamin A. Brabon & Stéphanie Genz, eds., POSTFEMINIST GOTHIC: CRITICAL INTERVENTIONS IN CONTEMPORARY CULTURE, New York: Palgrave Macmillan, 2007. 89p. index. notes. ISBN 0-230-00542-X. Buffy the Vampire Slayer( BtVS) died twice in the course of the series. canceled, expired material for maxi- may well be the most analyzed televi- Perhaps more than any other televi- mum return” (p.5). Can anyone say sion show in the history of the me- sion show, BtVS deserves to be called Knight Rider? dium. Try to name another series that “undead TV,” the title chosen by Elana Because the introduction raises so has its own academic conference or its Levine and Lisa Parks for their anthol- many interesting points about BtVS’s own peer-reviewed journal. A quick ogy of eight essays exploring the cul- afterlife — including how the show’s search of Amazon.com turns up more tural impact of BtVS (p.3). move from the WB to UPN may have than a dozen scholarly volumes about doomed the two “netlets” — it’s frus- the show — from the ground-breaking In the acknowledgements section trating to discover that very few of the Why Buffy Matters to the soon-to-be- of Undead TV: Essays on Buffy the Vam- essays use this as a point of departure published Buffy Goes Dark: Essays on pire Slayer, Levine and Parks note that for their analysis.2 Indeed, more than the Final Two Seasons.
    [Show full text]