JOURNAL OF POPULAR FILM AND TELEVISION最新文献

{"title":"SINGLE LIVES: MODERN WOMEN IN LITERATURE, CULTURE, AND FILM. Edited by Katherine Fama and Jorie Lagerwey. Rutgers UP, 2022. 240 pp. including bibliography and index. $36.95 softbound.","authors":"V. H. Pennanen","doi":"10.1080/01956051.2022.2141028","DOIUrl":"https://doi.org/10.1080/01956051.2022.2141028","url":null,"abstract":"All persons are born single, and most eventually die without a partner. In today’s West these truisms, combined with high divorce rates and an accelerating trend toward lifelong singleness, could imply singleness is (at least) “a” new normal. Yet stereotypes persist, and women especially report pressures to find romance, get married, and embrace the traditional “happily ever after.” The growing field of singleness studies invites us to explore, question, and challenge traditional attitudes toward singleness and measure them against realities old and new. In their introduction to Single Lives, University College Dublin in Ireland professors Katherine Fama and Jorie Lagerwey cite recent works analyzing female singleness from an historical, sociological, psychological, or literary perspective, but they argue for a much broader understanding of singleness “as a flexible and varied state emerging throughout an individual’s life span, including the never-married and the widowed, separated, and divorced” (5), and they stress the need to welcome insights from multiple branches of the humanities.1 Five of Single Lives’ ten essays deal largely or entirely with screen portrayals of single women. They include two studies of literature-to-film adaptations: Jennifer S. Clark’s “Reclaiming Single Women’s Work: Gender, Melodrama, and the Processes of Adaptation in The Best of Everything” (28–47) and Martina Mastandrea’s “F. Scott Fitzgerald and ‘The Sinking Ship of Future Matrimony’: The Unmarried Flapper in Literature and on Screen” (81–101). Clark sifts through a rich array of archives (“letters, memoirs, production reports, publicity, and correspondence [concerning production]”) (29)—documenting women’s creative involvement in the 1959 film version of The Best of Everything, Rona Jaffe’s fact-based tale about urban, white-collar “girls.” Besides Jaffe herself, who resisted the boundaries imposed on her as “mere” consultant, the women who helped prepare Best of Everything for the screen, included Phyllis Levy; Jaffe’s editor; Dusty Negulesco; the director’s wife; and Edith Sommer, scriptwriter. Clark argues that despite the film’s glossy visual effects and use of melodramatic pathos—in lieu of the novel’s more complex realism—it retains more of the novel’s strengths than casual viewers might realize, thanks largely to women’s involvement. She reveals how Negulesco’s feedback helped restore humanity to the character of Amanda Farrow, the hard-edged boss acted by Joan Crawford, and how Jaffe’s refusal to be just a trivia expert sparked real-life drama. Clark also states that “secretaries at 20th CenturyFox” helped “shape” the film (29), but she provides no evidence for this intriguing claim. Mastandrea considers three Fitzgerald tales depicting intelligent, marriage-averse “flappers” vis à vis how they were or might have been interpreted for the screen. “Might have been” applies to This Side of Paradise because the film was never made, even though Fitzgerald him","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"39 1","pages":"196 - 197"},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74418126","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}

{"title":"BETTER LIVING THROUGH TV: CONTEMPORARY TV AND MORAL IDENTITY FORMATION. Ed. Steven A. Benko. Lanham, MD: Lexington Books, 2022. 352 pp. $120.00 hardback/$45.00 eBook.","authors":"Johnnie Young","doi":"10.1080/01956051.2022.2141557","DOIUrl":"https://doi.org/10.1080/01956051.2022.2141557","url":null,"abstract":"In the foreword to Better Living through TV: Contemporary TV and Moral Identity Formation, Martin Shuster contends that television is a “site for serious moral contemplation” even though the act of watching television will not, in and of itself, “make you more moral” (x). Editor Steven A. Benko concurs with Shuster’s observation. Benko holds that “television is a place where important identity work and moral reflection can occur” (1). For this to happen, viewers must engage in a dialog of sorts with the programs on their screens. Of course, the nature of these conversations has changed drastically in recent decades with the prolifso, she adds, “Mary Poppins ... provides an alternative to domesticated femininity ... [since Mary’s] magical nature ... makes her entirely immune to social regulation” (182). Mary “specifies her [own] wages and schedule” (183), enjoys Bert’s company but (unlike Maria) has no interest in marriage, and flies away with her umbrella when she knows it’s time. (The notion of Mary-Poppins-as-role-model may strike readers as odd, but from a child’s viewpoint it makes perfect sense; as a girl I was more impressed by Mary’s aerial stunts than by anything she did for the Bankses.) More soberingly, Mattis finds recent and contemporary “nanny” narratives in fiction, film, and TV to be, like their predecessors, socially conservative, aimed at pleasing comfortable white audiences. In “Neither Betwixt nor Between: Divorced Mothers in the United States, 1920– 1965” (102–17), Kristin Celello explores how cultural anxieties about divorced mothers were reflected and addressed in popular media—including novels, magazines, and films—and academic writing from those decades. She notes how the 1927 film version of Children of Divorce exploits the theme of lives wrecked by “scheming and frivolous” (107) mothers and presents the suicide of one such mother, Kitty (Clara Bow) as a heroic way to break the cycle and let a better woman take her place. Celello also analyzes the Mildred Pierce novel and its 1945 film adaptation (starring Joan Crawford), wherein the title character’s pursuit of sexual pleasure is punished by her daughter’s death; and she notes how, as late as 1962, The Lucy Show’s producers avoided making their comedy about two divorced women. Even so, and despite the culture’s lack of attention to working-class and/or ethnic minority women and families, “the growing visibility of divorced mothers ... challenged what Americans thought they knew about motherhood and the family in these decades” (114). Regarding their choice to limit Single Lives’ scope to US and British culture from the “late nineteenth to the early twenty-first centuries,” the editors cite “parallel demographic spike[s]” and accompanying cultural fears of the nineteenth century fin de siècle with today’s (5–6). Indeed, as early as 1851, one-third of all British women were single (Craig 19), and while some Victorians agonized over this, others, including Charles Dickens, ","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"26 1","pages":"197 - 198"},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74078960","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}

{"title":"50 Years of “First Frame” Fundamentals: Remembering a Half-Century of Editing The Journal of Popular Film and Television","authors":"Sam L. Grogg, J. Nachbar, Michael T. Marsden, Gary R. Edgerton","doi":"10.1080/01956051.2022.2151299","DOIUrl":"https://doi.org/10.1080/01956051.2022.2151299","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"10 1","pages":"146 - 155"},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85429534","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}

{"title":"Whose Century? Narrative Power in Streaming Alternate-History Television","authors":"Summit P. Osur","doi":"10.1080/01956051.2022.2145454","DOIUrl":"https://doi.org/10.1080/01956051.2022.2145454","url":null,"abstract":"Abstract Although alternate histories have been present since the early days of televised science fiction, the genre didn’t take off until the streaming era of television began. Direct-targeted advertising, a glut of content, the maturation of the genre, and the historical instability of the twenty-first century intersected in the alternate-history genre, making it not only an important artistic genre but an important political one as well. Traditionally, the alternate-history genre, on a whole, has been criticized for its closed narratives that support the Great Man theory of history through an overemphasis on battles and royalty. A case study of six recent televised alternate histories—Russian Doll, Undone, Bandersnatch, Loki, Watchmen, and For All Mankind—shows that the televised version of the genre has matured into a revisionist genre that is focused on the natural determinism and personal agency as well as on the social factors that impact both. Taken together, these six shows suggest a unique maturity in the alternate-history genre, one that questions Anglo-Saxon spheres of narratological power and the very linearity of Western history.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"26 1","pages":"156 - 167"},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87735651","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}

{"title":"Forgettable Tales of a Forgotten War: Narrative, Memory, and the Erasure of the Korean War in American Cinema","authors":"Cortland Rankin","doi":"10.1080/01956051.2022.2145453","DOIUrl":"https://doi.org/10.1080/01956051.2022.2145453","url":null,"abstract":"Abstract The Korean War is paradoxically remembered in the United States as “The Forgotten War.” While there are many reasons for this amnesia, the war’s representation in American popular culture, and cinema in particular, remains a key factor. Looking beyond the narrow canon of Korean War film “classics,” this article surveys a broad spectrum of American-produced Korean War films made since 1951 in terms of their capacity (or rather incapacity) to serve as adequate means of Korean War remembrance. Building on memory studies scholar Astrid Erll’s theory of media and cultural memory, the article proposes a typology of the kinds of (non-)memory work done by American Korean War films, with a specific focus on common narrative strategies that not only hinder remembrance but facilitate forgetting. These include the frequent subordination of the war to background or other ancillary roles, overly generic and nonspecific treatments of the war, and the tendency to conflate Korea with WWII. The article frames the mnemonic implications of these narrative strategies in terms of the compromised memory potentials they generate, including “peripheral memory,” “vague memory,” and “parasitic memory.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"76 1","pages":"178 - 195"},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81564502","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}

{"title":"Dark Shadows: Monster Culture on Daytime Television","authors":"William L. Svitavsky","doi":"10.1080/01956051.2022.2086526","DOIUrl":"https://doi.org/10.1080/01956051.2022.2086526","url":null,"abstract":"Abstract The soap opera Dark Shadows (ABC, 1966–1971) gradually took on elements from horror movies, including an immensely popular vampire character. This article examines how the mixing of genre elements took place and how it changed the show’s audience and messaging.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"187 1","pages":"130 - 140"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73533414","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}

{"title":"Disney Does Disney: Re-Releasing, Remaking, and Retelling Animated Films for a New Generation","authors":"Rebecca Rowe","doi":"10.1080/01956051.2022.2094868","DOIUrl":"https://doi.org/10.1080/01956051.2022.2094868","url":null,"abstract":"Abstract Building from Helena Hammond’s discussion of Disney’s legacy films, there are three kinds of Disney legacy films designed specifically around Disney’s animated classics: legacy re-releases when classic animated films are brought “out of the vault”; legacy remakes which fairly faithfully remake the original animated classics with the story and plot more or less intact; and legacy retellings which draw on animated classics to tell a completely new story, often by focusing on a different perspective or continuing the story beyond the animated classic. These three types of legacy film venerate the Disney company and their catalog in three distinct ways: the re-releases make these films seem like a treasure worth hoarding; the remakes use new technology to give the old films new life, making the original text seem both new and yet always familiar; and the retellings work to show how Disney has supposedly grown as a company, both venerating the original texts and intentionally pointing to their flaws in order to make Disney seem even better today. All three tactics work in concert to bring Disney’s past to the present in order to secure their future amidst technological and cultural changes.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"45 1","pages":"98 - 111"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73979919","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}

{"title":"HORRIBLE WHITE PEOPLE: GENDER, GENRE, AND TELEVISION’S PRECARIOUS WHITENESS. By Taylor Nygaard and Jorie Lagerwey. New York University Press, 2020. 272 pp. $89.00 cloth.","authors":"S. Cannon","doi":"10.1080/01956051.2022.2111943","DOIUrl":"https://doi.org/10.1080/01956051.2022.2111943","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"152 1","pages":"142 - 143"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77075172","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}

{"title":"THE BLOOMSBURY COMPANION TO STANLEY KUBRICK. Edited by I. Q. Hunter and Nathan Abrams. Bloomsbury Academic, 2022. 396 pp. $39.95 paperback.","authors":"H. Humann","doi":"10.1080/01956051.2022.2114281","DOIUrl":"https://doi.org/10.1080/01956051.2022.2114281","url":null,"abstract":"A n American director, producer, and screenwriter with more than a dozen films to his credit, Stanley Kubrick (1928–1999) stands apart as one of the most acclaimed luminaries in cinema history. Indeed, as the editors of the recently published Bloomsbury Companion to Stanley Kubrick note in their introduction, his “remarkable body of films continues to attract worldwide scholarly, critical, and fan attention” (Hunter and Abrams 1). It is therefore not surprising that there is robust interest in Kubrick studies, so much so that “Kubrick is now one of the most written-about film directors in history,” with scholarship surrounding him “still growing” (1). With this in mind—and in an effort to provide a “comprehensive introduction to and summary of the current scholarship in Kubrick Studies”—this collection assembles a large group of international scholars who collectively present a thorough discussion of his contribution to cinema (1). As a starting point, the editors call attention to the fact that Kubrick’s many films represent disparate genres and reflect different aesthetics—so much so that scholars have found it difficult to categorize his oeuvre. Nonetheless, as the editors have identified, there are recurring themes in Kubrick’s cinematic works. Thus, this volume, which includes 39 contributions, offers a thematic exploration of his filmography. The selections, which are divided into five sections, both summarize previous Kubrick scholarship and present current (often archive-based) research. In “Industry,” the first section of the collection, essays survey Kubrick in terms of production, authorship, collaboration, translation, and adaptation. Beginning by positing that Kubrick was both a “brand” and an “auteur,” this section emphasizes his crucial role in cinema history (11–12). While acknowledging that the relationship between “auterism and originality” can be fraught, this section highlights how, in the case of Kubrick, the fact that his “films are adaptations is not the most important discursive frame for understanding them,” nor did it impact how they were promoted (12). The next part of the book, “Sound and Image,” explores Kubrick’s use of visuals, music, and sound effects. While there is consensus that Kubrick’s style is “celebrated,” the individual contributors to this section home in on different facets of his aesthetic (85). For instance, while Robert P. Kolker examines Kubrick’s meticulous framing, Rodney F. Hill emphasizes, instead, his relationship to formalism. For her part, Kate McQuiston appraises Kubrick’s use of music to create mood, adding that the director “took advantage of technological developments in production and creation, such as synthesizers” (86). In “Gender and Identity,” the third section of the book, the included selections consider how Kubrick represented men and women in his films. For instance, by viewing Kubrick from a feminist perspective, Karen A. Ritzenhoff reassesses his cinematic portrayals through the","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"8 1","pages":"141 - 141"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78614763","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}

{"title":"Viral Representations in Pose (2018–2021)","authors":"Angelos Bollas","doi":"10.1080/01956051.2022.2110559","DOIUrl":"https://doi.org/10.1080/01956051.2022.2110559","url":null,"abstract":"ABSTRACT An analysis of Pose (2018–2021) shows that the way HIV/AIDS suffering was represented in this series was very different to earlier representations. In particular, multimodal analysis is deployed to show how the series contributes to the provision of opportunities for audiences to identify and empathize with people living with HIV/AIDS (PLWHA). At a critical discourse level of analysis, Pose enables audiences to reflect on the position of PLWHA in the society; as such, rather than promoting feelings of care, the series appears to encourage audiences to engage with HIV/AIDS suffering in more depth, promoting the possibility of audiences contributing to the demand for civil rights for PLWHA. Indeed, the analysis suggests that Pose addresses social stigmatization and marginalization in a manner that promotes sociocultural change. The us-versus-them binary is reversed in such a manner whereby it becomes possible that those who contribute to the stigmatization of PLWHA are the ones who become the Others. The contribution of the series lies not only on the fact that PLWHA, as well as members of the queer community, were involved in the creation and production process; rather, the series addresses HIV/AIDS in an empowering, rather than a stigmatizing, manner.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"78 1","pages":"112 - 129"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74811248","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}