JOURNAL OF POPULAR FILM AND TELEVISION最新文献_第3页

“Guns Go in the Cookie Jar”: Parody, Nostalgia, and the Post-Hardware Heroine “饼干罐里的枪”：戏仿、怀旧和后硬件时代的英雄

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-06-21 DOI: 10.1080/01956051.2023.2190077

Aleksander Szaranski

{"title":"“Guns Go in the Cookie Jar”: Parody, Nostalgia, and the Post-Hardware Heroine","authors":"Aleksander Szaranski","doi":"10.1080/01956051.2023.2190077","DOIUrl":"https://doi.org/10.1080/01956051.2023.2190077","url":null,"abstract":"AbstractThe post-hardware heroine is argued to be the latest revision of action heroines since the 1990s, emerging into a parodic postmodern paradigm that recalls compensatory reactions exhibited by the “beefcake” cinema of the 1980s that is inextricably caught up in nostalgia and desire. For Yvonne Tasker, muscular, built male bodies the likes of Schwarzenegger and Stallone are reactions to a then-new male encounter with the cinematic gaze, while Scott Bukatman argues they are reactions to technology and the rising posthuman. Post-hardware heroines, as such, are not only imbued with a nostalgia for the hardware heroines that first subverted male action roles of the 1990s, but actively parody the iterative history from which they appear in a fashion evocative of the waning postmodern moment. Contemporary action films Atomic Blonde (2017), Anna (stylized ANИA, 2019), Gunpowder Milkshake (2021), and Jolt (2021) are argued to mark the emergence of the post-hardware heroine and represent the new parodic paradigm in which they operate. By transgressing and subverting narrative roles occupied by gendered performances, these films look toward an action cinema that blurs the boundaries of gender and leaves behind the visual pleasures of the body.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"6 11","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Measures of Success: Competing Masculinities in Cobra Kai 成功的衡量标准：眼镜蛇Kai的男子气概

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-06-21 DOI: 10.1080/01956051.2023.2190075

Stevie K. Seibert Desjarlais

引用次数: 0

Toward a Civil Society: Bernarr Cooper and the Bureau of Mass Communications of the New York State Education Department 走向公民社会：伯纳尔·库珀与纽约州教育部大众传播局

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-06-21 DOI: 10.1080/01956051.2023.2190076

Jeffrey S. Reznick

引用次数: 0

RAPE IN PERIOD DRAMA TELEVISION: CONSENT, MYTH, AND FANTASY. By Katherine Byrne and Julie Anne Taddeo. Lexington Books, 2022. 134 pp. $95.00 hardback, $45.00 ebook. 时代电视剧中的强奸：同意、神话和幻想。凯瑟琳·拜恩和朱莉·安妮·塔迪奥。Lexington Books，2022。134页，精装本95.00美元，电子书45.00美元。

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-06-21 DOI: 10.1080/01956051.2023.2208025

Jessica Walker

引用次数: 1

QUEER HORROR FILM AND TELEVISION: SEXUALITY AND MASCULINITY AT THE MARGINS. By Darren Elliott-Smith. London: Bloomsbury Academic, 2022. 252 pp. £28.99. Paperback. 酷儿恐怖电影和电视：边缘的性和男子气概。作者：Darren Elliott Smith。伦敦：布鲁姆斯伯里学院，2022年。252页，28.99英镑。平装本

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-06-21 DOI: 10.1080/01956051.2023.2205818

Antonio Sanna

引用次数: 0

Simulating the Past in the Present through Biopics: Queen Elizabeth II on Screen and on TV 通过传记片模拟现在的过去:银幕和电视上的女王伊丽莎白二世

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-04-03 DOI: 10.1080/01956051.2023.2180615

Defne Ersin Tutan

{"title":"Simulating the Past in the Present through Biopics: Queen Elizabeth II on Screen and on TV","authors":"Defne Ersin Tutan","doi":"10.1080/01956051.2023.2180615","DOIUrl":"https://doi.org/10.1080/01956051.2023.2180615","url":null,"abstract":"ABSTRACT Except for a brief representation of her as a child in The King’s Speech (2010), Queen Elizabeth II’s life has been adapted to the screen through The Queen (2006) and A Royal Night Out (2015). Moreover, the release of the TV series The Crown has added a new perspective to the ways in which the queen’s life has been revised, rewritten, and adapted, although the dynamics of film and of television remain dissimilar. When analyzed in a singular framework, the three movies and the four seasons of the TV series provide an adapted version of the life of Queen Elizabeth II as biopics, providing alternative biographical representations, fictionalized versions of what is believed to be factual material. More significantly, such adaptations of history could be analyzed as simulations, and the historical figures they represent as simulacra. In this framework, this study analyzes Queen Elizabeth II’s biopics as adaptations of personal history to claim that all such versions of history are radically adaptive and revisionist in their very nature. The study also argues that, if these biopics are to be accepted as simulations, the fidelity debate would be rendered obsolete.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"47 1","pages":"73 - 83"},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77834454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Heroes Never Sweat the Small Stuff: Fortuna in The CW’s Supernatural 英雄从不为小事烦恼:CW美剧《邪恶力量》中的Fortuna

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-01-02 DOI: 10.1080/01956051.2023.2171660

Jennifer Ann Rea

引用次数: 0

Introduction: The Ancient Classical World from Film to Television 简介:从电影到电视的古代古典世界

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-01-02 DOI: 10.1080/01956051.2023.2171681

Sylvie Magerstädt, M. Cyrino

引用次数: 0

Casting Black Athenas: Black Representation of Ancient Greek Goddesses in Modern Audiovisual Media and Beyond 铸造黑人雅典娜:古希腊女神在现代视听媒体中的黑人表现及超越

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-01-02 DOI: 10.1080/01956051.2023.2171659

Aimee Hinds Scott, Maciej P Paprocki

{"title":"Casting Black Athenas: Black Representation of Ancient Greek Goddesses in Modern Audiovisual Media and Beyond","authors":"Aimee Hinds Scott, Maciej P Paprocki","doi":"10.1080/01956051.2023.2171659","DOIUrl":"https://doi.org/10.1080/01956051.2023.2171659","url":null,"abstract":"Abstract This article focuses on Black representations of Greco-Roman goddesses in film and on television, exploring the historical and ideological conditions which have allowed audiences to react neutrally or favorably toward such representations. Adopting the transmedial perspective, the intersecting forces that have gradually disjointed conceptions of the gods and goddesses of Greek mythology in popular culture and imagination are considered. Such forces include nonspecialist understandings of ancient gender and its artistic interpretation, race versus colorism, and the commodity culture of cinema. Some portrayals of Black goddesses examined in this article appear in works imagineered or influenced by Disney: Hercules (1997 film, 1998–1999 animated series), The Little Mermaid (1989 film, 2008 Broadway musical) and Once Upon a Time (2011–2018 television series), whereas others appear in Syfy’s The Magicians (2015-2020 television series) and Rick Riordan’s Percy Jackson (2010 film and the upcoming television series). Casting Black women as Greek goddesses gradually weakens the conceptual entanglement between the Whiteness and the Greco-Roman divine, priming audiences to accept alternative representations of deities through cultural accretion.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"46 1","pages":"29 - 38"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89774492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Oedipal Anxieties in HBO’s Westworld 《西部世界》中的俄狄浦斯焦虑

IF 0.1 3区艺术学

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2023-01-02 DOI: 10.1080/01956051.2023.2171657

Kirsten Day

{"title":"Oedipal Anxieties in HBO’s Westworld","authors":"Kirsten Day","doi":"10.1080/01956051.2023.2171657","DOIUrl":"https://doi.org/10.1080/01956051.2023.2171657","url":null,"abstract":"Abstract In recent decades, scholars have recognized close connections between Western film and Greek and Roman antiquity, a relationship HBO’s Westworld brings into sharp relief through classical themes, characterizations, and allusions. Two episodes from season 2 in particular have a heavy classical bent. Episode 4 (“Riddle of the Sphinx”) casts park owner James Delos as an Oedipus figure who, in attempting to avoid his fate, runs right into it, as he is confronted with the truth about his nature and identity. In episode 9, William too is identified with Oedipus, when his wife commits suicide after recognizing her husband’s true nature, and William murders his own kin through a failure of recognition, while quotations from Plutarch and Plotinus highlight the issues of identity, fate, and self-knowledge that resound throughout the episode. While the series more broadly is concerned with patriarchal overreach and issues of free will and identity, these two episodes, when examined through a classical lens, offer a concentrated view. In the end, much like its Sophoclean predecessor, Westworld works as an implicit criticism of unbridled ambition, patriarchal narcissism, and lack of self-awareness.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"31 1","pages":"18 - 28"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76546070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0