{"title":"The Trauma of Post-Apocalyptic Motherhood","authors":"M. Ames","doi":"10.5810/kentucky/9780813180069.003.0006","DOIUrl":"https://doi.org/10.5810/kentucky/9780813180069.003.0006","url":null,"abstract":"Shifting from a focus on fictional fathers to fictional mothers, Chapter Five, analyzes the ways in which AMC's hit show, The Walking Dead (2010-present), critiques contemporary gender roles. Through a study of one particular character, Carol Peletier (Melissa McBride), this essay argues that the violent landscape of the zombie narrative might be an ideal space in which to interrogate conceptions of femininity more broadly, and maternity more specifically. This essay attends to the ways in which this character was punished within the narrative of the show for deviating from gender norms, but was embraced by fans on social media for those very same actions.","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129414257","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}
{"title":"Fictionalizing Ferguson in Prime-Time Dramas","authors":"M. Ames","doi":"10.5810/kentucky/9780813180069.003.0008","DOIUrl":"https://doi.org/10.5810/kentucky/9780813180069.003.0008","url":null,"abstract":"Chapter Seven narrows its focus to one particular year of programming that featured storylines about police brutality, inequity within the criminal justice system, and the #Black Lives Matter movement that has risen to speak out against both. Drawing upon trauma theory, this essay analyzes special episodes of CBS's The Good Wife (2009-2016) and ABC's Scandal (2010-2018) -- which have been referred to by media critics as each program's respective \"Ferguson episode\" -- and the first season of ABC's American Crime (2015-2017), a gritty crime anthology/mini-series which unflinchingly tackled racial conflict in its debut year. While there are reasons to be wary of attempts to fictionalize current race relations, this chapter ultimately argues that series that include thoughtful, complex storylines, and televisual aesthetics that underscore the social commentary contained with the program, may allow these issues not just to be understood, but felt.","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125809960","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}
{"title":"“I’m (Not) with Her”","authors":"M. Ames","doi":"10.5810/kentucky/9780813180069.003.0011","DOIUrl":"https://doi.org/10.5810/kentucky/9780813180069.003.0011","url":null,"abstract":"The final study presented in this book focuses on one of the most impactful events of the 21st century: the 2016 U.S. Presidential Election, which likely ended as it did in part due to a combination of the cultural fears discussed throughout the previous chapters. For example, the presidential campaign run by Donald Trump played on post-9/11 insecurities about homeland security and employed fear-based, divisive rhetoric about race, gender, class, and sexuality. The acceptance of this rhetoric -- and his ultimate victory -- may be explained by the process of phobic construction highlighted in this text. Chapter 10 analyzes the final months of the election cycle, in particular the televised presidential debates between Trump and Hillary Clinton and the ways in which they stimulated conversation among viewers during the live broadcast and ongoing dialogue and activism beyond it.","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"80 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130785713","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}
{"title":"Performing and Experiencing Anger (through Humor)","authors":"M. Ames","doi":"10.5810/kentucky/9780813180069.003.0004","DOIUrl":"https://doi.org/10.5810/kentucky/9780813180069.003.0004","url":null,"abstract":"Turning to one final entertainment genre, Chapter Three studies the rise in popularity of parodic infotainment news shows following the September 11th attacks. Drawing upon humor relief theory, as well as theories concerning affect mimicry and imagined communities, this essay argues that news parodies, such as Comedy Central's The Daily Show, satisfied various emotional needs for viewers during this traumatic time period. While critics often worry that therapeutic laughter diffuses fear and anger and quells rebellious impulses, this essay argues that the humor provided by these programs have the potential to help viewers transform their negative emotions into action.","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121753250","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}
{"title":"Defending The Bachelorette:","authors":"","doi":"10.2307/j.ctv176kv1x.12","DOIUrl":"https://doi.org/10.2307/j.ctv176kv1x.12","url":null,"abstract":"","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133120920","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}
{"title":"Fictionalizing Ferguson in Prime-Time Dramas:","authors":"","doi":"10.2307/j.ctv176kv1x.10","DOIUrl":"https://doi.org/10.2307/j.ctv176kv1x.10","url":null,"abstract":"","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123905609","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}
{"title":"Escaping Reality by Watching Reality TV?","authors":"M. Ames","doi":"10.2307/j.ctv176kv1x.5","DOIUrl":"https://doi.org/10.2307/j.ctv176kv1x.5","url":null,"abstract":"Chapter Two turns to reality television, exploring three theories of emotion that explain the rise of this televisual genre in the wake of 9/11. A study of the 2000-2010 programming schedule reveals the cultural anxieties with which producers and viewers of these shows (dis)engage. Although often considered superficial, lowbrow entertainment products meant primarily for escapist purposes, this essay argues that reality television programs grapple with important societal concerns: surveillance culture and privacy rights; the pressure of identity performance in the social media era; and shifting social, domestic, and familial expectations for men and women.","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127684989","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}
{"title":"A Country (Still) Divided","authors":"M. Ames","doi":"10.5810/kentucky/9780813180069.003.0007","DOIUrl":"https://doi.org/10.5810/kentucky/9780813180069.003.0007","url":null,"abstract":"Supernatural shows by their nature often incorporate themes such as survival, community, revenge, resurrection, and (the dark side of) humanity -- themes which take on a new meaning in the post-9/11 period. Chapter Six analyzes how these are incorporated into 21st century vampire narratives, such as HBO's True Blood (2008-2014), CW's The Vampire Diaries (2009-2017), and the film adaptations of Stephenie Meyer's Twilight Saga (2008, 2009, 2010, 2011, 2012). Through a recurrent focus on \"us versus them,\" these storylines bring attention to the cultural divides within the United States caused by things such as continued racial conflict, progress in the LGBTQA rights movement, and ongoing (religious and political) debates concerning family values. This essay also analyzes the ways in which the Civil War backstories present within each of these narratives reflect problematic nostalgia for bygone eras (and societal orders).","PeriodicalId":253881,"journal":{"name":"Small Screen, Big Feels","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130191465","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}
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