JOURNAL OF POPULAR FILM AND TELEVISION最新文献

{"title":"Bearing Children, Burying Childhood: An Allegory of Reproductive Rights in The Wizard of Oz (1939)","authors":"J. Hodge","doi":"10.1080/01956051.2021.1975625","DOIUrl":"https://doi.org/10.1080/01956051.2021.1975625","url":null,"abstract":"ABSTRACT This article argues that MGM’s 1939 classic The Wizard of Oz allegorizes both cultural and political responses to teen pregnancy in the 1930s, a decade which not only saw other movies address similar woman’s rights issues, but also saw legislation which eased restrictions on abortion. Part of the film’s universal appeal is its ability to represent unmarried, pregnant women from all economic brackets as well as provide a “choice” of whether to abandon or maintain what the movie directly identifies as “childhood,” or one’s “inner child,” but which seems to represent what could more accurately be called a “child within.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"132 1","pages":"40 - 48"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86725978","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":"“Sex Had Nothing to Do with It”: Mae West as Mentoring Icon","authors":"Leslie Kreiner Wilson","doi":"10.1080/01956051.2021.1997891","DOIUrl":"https://doi.org/10.1080/01956051.2021.1997891","url":null,"abstract":"Abstract While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today’s parlance—be termed life coach.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"30 1","pages":"13 - 23"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87791402","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":"To the Truth, to the Light: Genericity and Historicity in Babylon Berlin","authors":"Caitlin Shaw","doi":"10.1080/01956051.2021.1971605","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971605","url":null,"abstract":"ABSTRACT Babylon Berlin (ARD/Sky, 2017–) depicts Germany’s Weimar Republic by way of complex genericity, drawing especially on the era’s internationally recognizable associations with film noir and the musical. While this reflects its position in a transnational “quality” television landscape, its generic frameworks also draw out ambiguous historical tensions difficult to capture in a realist mode and highlight unpredictable ambivalence across Weimar’s institutions and culture. This complicates Weimar myths that polarize its supposedly regressive politics and progressive culture and see it as a “doomed republic,” the subsequent Nazi period viewed in hindsight as having been inevitable. It also distances it from recorded history, inviting a symbolic reading in the context of contemporary global phenomena. Babylon Berlin thus demonstrates that although citing globally popular genres to depict national histories facilitates transnational television drama’s accessibility, it can also aid critical historical reflection.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"316 1","pages":"24 - 39"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75298913","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":"WOMEN IN THE WESTERN Ed. Sue Matheson. Edinburgh: Edinburgh UP, 2020. 360 pp. $110.00 hardcover.","authors":"Katarzyna Nowak-McNeice","doi":"10.1080/01956051.2021.1987833","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987833","url":null,"abstract":"streaming media: this is what happens when Jackson’s short novel becomes a Netflix property. To fill hours of programming, The Haunting of Hill House needs to be greatly expanded; to fit into the existing mold the story must incorporate a steady dose of jump scares and Stranger Things–style cliffhangers; to invite repeat screenings it needs a host of webpage-baiting Easter eggs (hello Russ Tamblyn!). Indeed, a more transparent Netflix would have used this book’s title itself. The issue extends beyond curmudgeonly grumbling about this series’ lack of fidelity, or wrongheadedly advocating for a return to those barren “fidelity” days of adaptation studies. Even more address from the contributors on the union of Netflix—and other streaming services—with literary properties would have been welcome (but please note that this volume does not condemn such discussion). It seems almost as though artists like Flanagan, and audiences, can conform with the dictates of streaming media culture or abandon new audio-visual media completely. It is not only Jackson fans, Henry James aficionados, or English professors who are anxious about a future littered with literary adaptations that feel more like The Mandalorian (2019–) than the seemingly annual BBC versions of Austen novels. Or, though Austen’s work survived a zombie invasion, must we rejoice in Baby Yoda gifs from the next Pride and Prejudice? Paul N. Reinsch Texas Tech University","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"4 1","pages":"234 - 235"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77221333","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":"HOLLYWOOD HATES HITLER! JEW-BAITING, ANTI-NAZISM AND THE SENATE INVESTIGATION INTO WARMONGERING IN MOTION PICTURES By Chris Yogerst. Jackson: U P of Mississippi, 2020. 208 pp. $25.00 paper.","authors":"Danielle Glassmeyer","doi":"10.1080/01956051.2021.1987835","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987835","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"18 1","pages":"238 - 239"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84464427","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":"COLD WAR FILM GENRES Edited by Homer B. Pettey. Edinburgh UP, 2018. 280 pp. $110 hardcover.","authors":"K. Flanagan","doi":"10.1080/01956051.2021.1971918","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971918","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"13 4","pages":"232 - 232"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72458141","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 Representation of Urban Surface Culture in Asphalt (1929)","authors":"Jee-Hae Jung","doi":"10.1080/01956051.2021.1972924","DOIUrl":"https://doi.org/10.1080/01956051.2021.1972924","url":null,"abstract":"Abstract The essay analyzes the film, Joe May’s Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural dynamic. The essay ultimately argues that surface matters. The superficiality that pervades in the film can represent modern urban experience, one that is increasingly dominated by visual surfaces. Foregrounding the city and the heroine’s urban experiences, this essay discusses the ways in which the film valorizes “surface culture” as opposed to moral “depth.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"83 2 1","pages":"223 - 231"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77907722","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":"From Mrs. G. to Marmee: The Facts of Life and Little Women","authors":"Michelle Ann Abate","doi":"10.1080/01956051.2021.1871876","DOIUrl":"https://doi.org/10.1080/01956051.2021.1871876","url":null,"abstract":"Abstract This essay gives much-needed critical attention to the 1980s sitcom, The Facts of Life. While the show was a spinoff to the series Diff’rent Strokes, I make a case that its true creative and cultural debt is to a far different source: Louisa May Alcott’s 1868 novel, Little Women.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"182 - 195"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89742383","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":"WOMEN MAKE HORROR: FILMMAKING, FEMINISM, GENRE. Edited by Alison Peirse. Rutgers UP, 2020. 270 pp. $29.95 paper.","authors":"H. Humann","doi":"10.1080/01956051.2021.1971926","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971926","url":null,"abstract":"Feminine Turn in Postwar Westerns”; Martin M. Winkler’s “Clytemnestra and Electra under Western Skies”; and Christopher Minz’s “‘Never seen a woman who was more of a man’: Saloon Girls, Women Heroes, and Female Masculinity in the Western.” Studlar examines the movies that present psychological drama and focus on family dynamics. Such films, informed by the growing popularity of Freudian theories, have a subversive potential because, in Studlar’s words, they “complicated American myths, whether by calling subtle attention to contradictions in them, or through more overt questioning of assumptions about gender and sexuality as well as race and class” (84). Winkler’s study shows affinities between the Western and classical myth, analyzing transpositions of Electra and Clytemnestra archetypes to film. Winkler quotes director Anthony Mann. saying, “You can take any of the great dramas; doesn’t matter whether it’s Shakespeare, whether it’s Greek plays, or what: you can always lay them in the West. They somehow become alive” (100). In Winkler’s assessment, the Western has always been conscious of its potential to provide a backdrop for classical drama and archetypal characters. Minz in turn argues that “the Western has never been specifically about men in its mythological structure” (107), describing the Western as a “masculinist” project and situating it within the masculine, rather than biologically male, frame of reference. Minz probes the “unconscious of the Western” and shows the pervasiveness and importance of a “non-male masculinity” (108). The chapters in the second part focus on contemporary Westerns and analyze them in the light of recent political events, reading the movies as a reflection of wider cultural narratives in which these events are understood, digested, and represented; many take 9/11 as a pivoting moment. Robert Spindler argues, “Western cinema after 9/11 seems to follow along two parallel and contradictory lines that either attempt to resurrect the traditional Western and the supposedly proto-American values the genre represents, or deconstruct its rigid forms further” (162); the essays in the second part confirm this assertion. Fran Pheasant-Kelly’s essay points to the women-as-victims trope and cowboy rhetoric in the post-9/11 Western. It starts with a strong statement: “At the core of the classic Western exists a mythology founded on convictions of American exceptionalism and white racial superiority” (121). In a similar vein, Kelly MacPhail continues with an examination of revisionist Westerns in his contribution: revisionist Westerns, as he stresses, highlight majority society’s anxiety concerning such issues as the “assimilation, miscegenation, and contamination of women” and provide a challenge to essentialist assumptions about gender, race, power dynamics, and identity (142). A particular brand of a revisionist Western, a feminist Western, is the focus of Andrew Patrick Nelson’s essay. Nelson discusses the validity of th","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"15 1","pages":"235 - 236"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79491771","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":"HBO’s Watchmen and Generic Revision in a Genre of Adaptation","authors":"D. McLean","doi":"10.1080/01956051.2021.1875974","DOIUrl":"https://doi.org/10.1080/01956051.2021.1875974","url":null,"abstract":"Abstract As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO’s miniseries adaptation of Watchmen serves as an example of how, through a series of adaptational strategies, an adapted genre text can retain a reverence to its source material while also serving a revisionist function in its new medium.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"21 1","pages":"196 - 209"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73763200","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}