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Volume 8, Number 1 POPULAR CULTURE STUDIES JOURNAL VOLUME 8 NUMBER 1 2020 Editor Lead Copy Editor CARRIELYNN D. REINHARD AMY DREES Dominican University Northwest State Community College Managing Editor Associate Copy Editor JULIA LARGENT AMANDA KONKLE McPherson College Georgia Southern University Associate Editor Associate Copy Editor GARRET L. CASTLEBERRY PETER CULLEN BRYAN Mid-America Christian University The Pennsylvania State University Associate Editor Reviews Editor MALYNNDA JOHNSON CHRISTOPHER J. OLSON Indiana State University University of Wisconsin-Milwaukee Associate Editor Assistant Reviews Editor KATHLEEN TURNER LEDGERWOOD SARAH PAWLAK STANLEY Lincoln University Marquette University Associate Editor Graphics Editor RUTH ANN JONES ETHAN CHITTY Michigan State University Purdue University Please visit the PCSJ at: mpcaaca.org/the-popular-culture-studies-journal. Popular Culture Studies Journal is the official journal of the Midwest Popular Culture Association and American Culture Association (MPCA/ACA), ISSN 2691-8617. Copyright © 2020 MPCA. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 EDITORIAL BOARD CORTNEY BARKO KATIE WILSON PAUL BOOTH West Virginia University University of Louisville DePaul University AMANDA PICHE CARYN NEUMANN ALLISON R. LEVIN Ryerson University Miami University Webster University ZACHARY MATUSHESKI BRADY SIMENSON CARLOS MORRISON Ohio State University Northern Illinois University Alabama State University KATHLEEN KOLLMAN RAYMOND SCHUCK ROBIN HERSHKOWITZ Bowling Green State Bowling Green State Bowling Green State University University University JUDITH FATHALLAH KATIE FREDRICKS KIT MEDJESKY Solent University Rutgers University University of Findlay JESSE KAVADLO Maryville University, St. Louis ii TABLE OF CONTENTS Introduction: On Time and Popular Culture........................................................ 1 CARRIELYNN D. REINHARD ARTICLES: Regular Submissions There’s No Place Like Home: Arlene Francis and Domesticity in Doubt ..................................................................................................................... 3 CAROLINE ARGRAVE Unmasking the Devil: Comfort and Closure in Horror Film Special Features ...................................................................................................... 24 ZACHARY SHELDON “Once with a Knitting Needle, Once with a Hanger”: Reckoning with and Reworking Carol J. Clover’s Final Girl in Halloween (1978) and Halloween (2018) .............................................................. 43 PEYTON BRUNET HBO’s Band of Brothers: Countertendencies and the World War II Combat Film Genre .................................................................................. 59 JAMIE BOWEN Lessons from Litchfield: Orange Is the New Black as Netflix Feminist Intersectional Pedagogy ......................................................................... 74 HAYLEY CROOKS AND SYLVIE FRIGON “When the Gunfire Ends”: Deconstructing PTSD Among Military Veterans in Marvel’s The Punisher ..................................................... 101 GRAEME JOHN WILSON More Than Movies: Reconceptualizing Race in Black Panther and Get Out ........................................................................................................... 120 JARREL DE MATAS Real, Close Friends: The Effects of Perceived Relationships with YouTube Microcelebrities on Compliance ............................................... 139 ALLISON M. SALYER AND JULIA K. WEISS iii ARTICLES: Student Showcase Marginalization within Nerd Culture: Racism and Sexism within Cosplay ...................................................................................................... 157 BRYAN JENKINS “She’s Awake! He’s Awake! It’s Awake!”: Gender Nonconformity in A Series of Unfortunate Events ............................................ 175 JESSICA KING REVIEWS The Popular Culture Studies Journal Reviews: Introduction ............................................................................................................ 194 Christopher J. Olson Book Reviews ........................................................................................................ 196 Beil, Benjamin, Gundof S. Freyermuth, and Hanns Christian Schmidt, eds. Playing Utopia: Futures in Digital Games. transcript, 2019. Alesja Serada. ......................................................................................................... 196 Flea. Acid for the Children. Grand Central Publishing, 2019. Amy Absher. .......................................................................................................... 198 Glickman, Nora and Ariana Huberman, eds. Evolving Images: Jewish Latin American Cinema. University of Texas Press, 2018. Hanja Dämon……………………………………………………………..……...201 Hosey, Sara. Home Is Where the Hurt Is: Media Depictions of Wives and Mothers. McFarland Press, 2019. Courtney Dreyer……………………………………………………….………...203 Lobato, Ramon. Netflix Nations: The Geography of Digital Distribution. New York University Press, 2019. Dennis Owen Frohlich…………………………………………………………...206 Lucia, Cynthia and Rahul Hamid, eds. Cineaste on Film Criticism, Programming, and Preservation in the New Millennium. University iv of Texas Press, 2017. Christopher J. Olson………………………………………………………...…...208 Mangaoang, Áine. Dangerous Mediations: Pop Music in a Philippine Prison Video. Bloomsbury, 2019. Jennifer Schneider..……………………………………………………………...211 Mizejewski, Linda and Victoria Sturtevant, eds. Hysterical! Women in American Comedy. University of Texas Press, 2017. Shaina Paggett…………………………………………………………………...215 Seelow, David D., ed. Lessons Drawn: Essays on the Pedagogy of Comics and Graphic Novels. McFarland Press, 2019. Kelly Brajevich...………………………………………………………………...218 Film and Television Reviews ............................................................................... 221 The Boy Who Harnessed the Wind. Dir. Chiwetel Ejiofor. Screenplay by Chiwetel Ejiofor. Perf. Chiwetel Ejiofor, Maxwell Simba, and Lily Banda. BBC Films, 2019. Netflix. Daniel Chukwuemeka ............................................................................................ 221 Insatiable. Created by Lauren Gussis. Lady Magic Productions, Storied Media Group, Ryan Seacrest Productions, and CBS Television Studios, 2018. Blue Aslan Philip Profitt ........................................................................................ 223 Midsommar. Dir. Ari Aster. Screenplay by Ari Aster. Perf. Florence Pugh, Jack Reynor, and Vilhelm Blomgren. A24, 2019. Riana Slyter ............................................................................................................ 226 Parasite. Dir. Bong Joon-ho. Screenplay by Bong Joon-ho and Han Jin-won. Perf. Song Kang-ho, Lee Sun-kyun, and Jo Yeo-jeong. CJ Entertainment, 2019. Lim Hee-seong ....................................................................................................... 228 ABOUT THE JOURNAL ............................................................................. 231 v On Time and Popular Culture CARRIELYNN D. REINHARD Time is an interesting phenomenon. It is both an objective aspect of the nature of our universe and a subjective experience of our universe. We humans shape time through different forms of measurement, bending the rotations of our planet to our social, cultural, political, and economic needs. We speak equally about the past and the future as if they are concrete entities that continue to exist in our universe and shape our lives, while simultaneously referring to something called “the present” — although by the time we have labeled it as such, it has already become the past. We quip idioms like “time changes everything,” “time heals all wounds,” or “time flies by” that anthropomorphically ascribe agency to time while also lamenting the dearth of time we have in our daily lives and the entirety of our lifespans. Quixotically, time exists both in abundance and in scarcity, with an ambling gait and far too much rapidity, in ebbs and flows yet with regular circularity that makes people’s heads spin while also forgetting that what has happened before is likely to happen again. Time is both subjective and objective. Similarly, popular culture exists in this dual state and in the tension between the states. We construct popular culture by, literally, determining what texts and practices are popular, for anything from a short window of time — putting the “pop” in “pop culture” — to spanning eons and generations and moving from niche cult to globalized culture. Because we construct it, popular culture is inherently subjective, based entirely on preferences and tastes and thus able to exist in plurality with many others. Yet popular culture also objectively exists outside of us, in the material texts and ideological practices that constitute it, allow it to transverse space and time, and impact individuals and communities. And in the tension between the purely subjective and purely objective lies all the “stuff,” both material and ideological, of popular culture studies. All things change, but the more things change, the more they stay the same? The articles collected in this issue demonstrate how popular culture both changes, and does not change, across time. In this collection, contributors consider how ideas about feminism and gender, race and ethnicity, sexuality and intersectionality have all shifted in some way, perhaps challenging our past conceptions about societies, cultures, theories, and popular culture studies itself. Research
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