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Cross‐Cultural Appropriation of Hollywood Romance in Beijing Meets Seattle 《北京遇上西雅图》中好莱坞浪漫的跨文化挪用
The Journal of Popular Culture Pub Date : 2018-02-01 DOI: 10.1111/JPCU.12636
Jing Yang
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引用次数: 1
Pioneering Cartoonists of Color. Tim Jackson. University of Mississippi Press, 2016. 128 pp. $35.00 paperback. 先驱彩色漫画家。蒂姆•杰克逊。密西西比大学出版社，2016。128页，平装本35.00美元。
The Journal of Popular Culture Pub Date : 2018-02-01 DOI: 10.1111/JPCU.12638
Yvonne C. Garrett
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引用次数: 0
“I'd Rather Have No Brains and Two Balls”: Eunuchs, Masculinity, and Power in Game of Thrones 《权力的游戏》中的太监、男子气概和权力:“我宁愿没有大脑和两个蛋蛋”
The Journal of Popular Culture Pub Date : 2018-02-01 DOI: 10.1111/JPCU.12647
Brooke Askey
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引用次数: 13
Indians of the Apocalypse: Native Appropriation and Representation in 1980s Dystopic Films and Comic Books 启示录中的印第安人:20世纪80年代反乌托邦电影和漫画书中的本土挪用和表现
The Journal of Popular Culture Pub Date : 2018-02-01 DOI: 10.1111/JPCU.12649
P. Robertson
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引用次数: 0
Listening to the Log: Gothic Awkwardness and Twin Peaks 聆听原木:哥特式的尴尬和双峰
The Journal of Popular Culture Pub Date : 2017-10-01 DOI: 10.1111/JPCU.12608
Paul Muhlhauser, Robert Kachur
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引用次数: 1
Heartbeat, Warble, and the Electric Powwow: American Indian Music. Craig Harris. Norman, OK: University of Oklahoma Press, 2016. 267 pp. $24.95 paperback 心跳，颤音和电祈祷:美国印第安音乐。克雷格·哈里斯。诺曼，OK:俄克拉荷马大学出版社，2016年。267页，平装本24.95美元
The Journal of Popular Culture Pub Date : 2017-10-01 DOI: 10.1111/JPCU.12606
Sandra L. Garner
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引用次数: 0
Sound as Popular Culture: A Research Companion. Jens G. Papenburg and Holger Schulze, eds. MIT Press, 2015. 448 pp. $42.00 cloth. 声音作为流行文化:一个研究伙伴。Jens G. Papenburg和Holger Schulze编。麻省理工学院出版社，2015。448页，$42.00布。
The Journal of Popular Culture Pub Date : 2017-06-01 DOI: 10.1111/JPCU.12555
S. Tine
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引用次数: 7
For His Eyes Only: The Women of James Bond. Lisa Funnell. New York: Wallflower Press, 2015. 309 pp. $30.00 paperback. 只给他看:詹姆斯·邦德的女人。丽莎战绩。纽约:壁花出版社，2015。309页，平装本30美元。
The Journal of Popular Culture Pub Date : 2017-02-01 DOI: 10.1111/jpcu.12519
Deyapriva Sanyal
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引用次数: 0
Happily Ever After for Whom? Blackness and Disability in Romance Narratives 为谁永远幸福?浪漫叙事中的黑色与残疾
The Journal of Popular Culture Pub Date : 2016-12-01 DOI: 10.1111/JPCU.12491
Sami Schalk
{"title":"Happily Ever After for Whom? Blackness and Disability in Romance Narratives","authors":"Sami Schalk","doi":"10.1111/JPCU.12491","DOIUrl":"https://doi.org/10.1111/JPCU.12491","url":null,"abstract":"I N THE UNITED STATES, PEOPLE WITH DISABILITIES ARE OFTEN REPREsented as nonsexual, having either no desire or no capacity for sexual interactions. This stereotype is supported by both the lack of mainstream representation and by the historical denial and punishment of the sexualities of people with disabilities through eugenics, forced sterilization, institutionalization, exclusion from sex education, and more (Wilkerson 193–94; Stevens 6–11). In contrast, the sexuality of black people has been abundantly represented as a problem that needs to be controlled. Black feminists argue that sexuality and gender are always already racialized, and sexual-racial stereotypes, like the Jezebel, dominate contemporary cultural representations of black women. While the sexualities of black people have been more often represented than the sexualities of disabled people, these representations have typically been oppressive nonetheless. Positive, perhaps even liberatory, scripts of black and disabled people’s sexualities are largely nonexistent, especially in mainstream culture. As a result, writers of popular fiction have sought to depict black and disabled people’s experiences in the popular romance genre. Harlequin, the most recognizable of romance novel publishers, has a fairly robust line of African-American romance novels that are published separately under a different imprint called Kimani romance—a strategy common in romance fiction publishing. While there is no exclusive line of disability romance novels from any publisher, in 2010, the Romantic Times Book Reviews labeled disabled heroes and heroines a “hot trend” in romance fiction and Emily M. Baldys noted “the romance genre’s growing obsession with disability” (Fielding","PeriodicalId":103085,"journal":{"name":"The Journal of Popular Culture","volume":"466 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117414071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 8
Occupy Raw: Pro Wrestling Fans, Carnivalesque, and the Commercialization of Social Movements 占领原始:职业摔跤爱好者，嘉年华式，和社会运动的商业化
The Journal of Popular Culture Pub Date : 2016-12-01 DOI: 10.1111/JPCU.12492
Gino Canella
{"title":"Occupy Raw: Pro Wrestling Fans, Carnivalesque, and the Commercialization of Social Movements","authors":"Gino Canella","doi":"10.1111/JPCU.12492","DOIUrl":"https://doi.org/10.1111/JPCU.12492","url":null,"abstract":"O N MARCH 10, 2014, DANIEL BRYAN STAGED AN “OCCUPY Raw” protest in the center of the World Wrestling Entertainment (WWE) ring. The event was broadcast live and seen by millions of viewers around the world on WWE’s weekly television series Raw. This scripted act of defiance saw fan favorite and underdog wrestler Bryan fill the ring with dozens of fans wearing his signature “Yes” T-shirt. The protest was the culmination of an ongoing feud between Bryan and The Authority, a team of corporate bosses and wrestlers consisting at the time of WWE Chief Brand Officer Stephanie McMahon, WWE Executive Vice President of Talent and Live Events Triple H, and a rotating crew of villainous wrestlers, including Kane, Seth Rollins, and Randy Orton. This storyline of the Everyman versus his corporate bosses is nothing new for WWE. In the late 1990s, arguably one of the most popular professional wrestlers ever, “Stone Cold” Steve Austin, engaged in a feud with The Corporation and the evil Mister McMahon,","PeriodicalId":103085,"journal":{"name":"The Journal of Popular Culture","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120326168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 6
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