JOURNAL OF POPULAR FILM AND TELEVISION最新文献

{"title":"Chronicler of the “American Problem”: An Interview with Kevin Willmott","authors":"Gary R. Edgerton, Michael T. Marsden","doi":"10.1080/01956051.2021.1868935","DOIUrl":"https://doi.org/10.1080/01956051.2021.1868935","url":null,"abstract":"Kevin Willmott’s journey as an independent filmmaker is an improbable success story. He was born on the 31 August 1958 in Junction City, Kansas, a small city of a little more than 20,000 residents some ninety miles west of the university town of Lawrence and 125 miles from Kansas City, Missouri. He earned his BA in drama from Marymount College in nearby Salina, then an MFA in dramatic writing from New York University. Willmott is a multi-hyphenate—a writer, producer, director, and sometimes actor—who now is in his third decade as an independent moviemaker with major creative credits on fifteen films and counting.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"30 1","pages":"2 - 15"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78023566","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 ENCYCLOPEDIA OF RACISM IN AMERICAN FILM. Ed. Salvador Jiménez Murguia. Rowman & Littlefield, 2018. 805 pp. $125 hardcover, $118 e-book.","authors":"Caroline V. Schroeter","doi":"10.1080/01956051.2020.1868919","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868919","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"7 Suppl 6 1","pages":"64 - 65"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88334410","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":"THEY DREW AS THEY PLEASED: THE HIDDEN ART OF DISNEY’S MID-CENTURY ERA; THE 1950s AND 1960s.By Didier Ghez. Chronicle Books, 2018. 224 pp. $45.00 hardcover.","authors":"Farisa Khalid","doi":"10.1080/01956051.2020.1868924","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868924","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"67 - 68"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77173315","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 Changing Face of Capital Punishment Films: Just Mercy and Clemency","authors":"Bruce E. Altschuler","doi":"10.1080/01956051.2020.1820937","DOIUrl":"https://doi.org/10.1080/01956051.2020.1820937","url":null,"abstract":"Abstract: After the Supreme Court reinstituted the death penalty in 1976, films about capital punishment were written and directed almost entirely by white men. The protagonists and those sentenced to death were largely white and, to avoid antagonizing audiences who might be offended if the films took positions on larger issues, the stories told were those of individuals rather than institutions. The 2019 films Just Mercy and Clemency featured actors, directors, and screenwriters of color. This article asks whether this made a substantive difference in the content of these films and what the likelihood of significant change in the future will be.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"40 1","pages":"30 - 39"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77478016","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":"HOME IS WHERE THE HURT IS: MEDIA DEPICTIONS OF WIVES AND MOTHERS. By Sara Hosey. Jefferson, NC: McFarland, 2019. 224 pp. $55.00 paper.","authors":"V. H. Pennanen","doi":"10.1080/01956051.2020.1868915","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868915","url":null,"abstract":"H ome Is Where the Hurt Is: Media Depictions of Wives and Mothers is the first of two new books by Sara Hosey, associate professor of English and women and gender studies at Nassau Community College, Garden City, New York. Hosey has written extensively on identity and power issues and co-authored a reading and writing manual for college students (see, for example, Hosey and O’Connor; Hosey, “One of Us”; Hosey, “Canaries and Coalmines”). Her newest work is the novel Iphigenia Murphy, whose teenage protagonist escapes from an abusive home and sets up a better one in a park. There, despite dangers and fallout from past traumas, Iffy and her “misfit” friends can be themselves, and Iffy finds herself. Hosey explains how the inspiration for Iffy’s story came to her as she worked on Home Is Where the Hurt Is: “Home ... is centrally concerned with the ways girls and women are often depicted in popular culture. And ... I ... found that I wanted to participate in the creation of that culture ... dramatiz[ing] some of the issues that many girls and women must grapple with ... [but also] the healing power of female friendship and support. My characters are not perfect people, but I did try to write the kinds of characters, male and female, that I’d like to see more of in popular culture” (qtd. in De Feo). While no one can predict how many adolescent fans of Iphigenia Murphy will eventually (perhaps in college) read Home Is Where the Hurt Is, Home surely deserves a thoughtful, appreciative audience. Chapters one through five focus on “hurt,” in particular, media depictions of wives and mothers that “address troubling realities at the same time as they fall back on outmoded, limited understandings of gender roles ... thus naturalizing women’s oppression” (7). Chapter one traces narratives about women who are trapped in their own homes, frustrated by their plight, and generally unable to free themselves. They include women whose doctors demand they hunker down to safeguard their pregnancies— never mind that Jules (What to Expect When You’re Expecting) is a fitness expert, or that a demonic ghost spawned one of Vivien’s “twins” (“Murder House,” American Horror Story). Whereas Jules becomes reconciled to her plight and so becomes a happier wife, Vivien and her family end up dead, yet together and content (!). The widowed Amelia in The Babadook, stifled by maternal duties, becomes demonically possessed; her son forcefully defeats—though he cannot kill—the monster and reclaims Amelia through love. In Precious, the title character is stuck at home with her villainous mother and repeatedly raped by her biological father; the film ends on a half-hopeful note as Precious, aware she can at least “make [limited] choices” (34), departs forever with her two young children. And in the Bad Moms comedies, overwhelmed middle-class mothers harmlessly blow off steam and thus become better parents. Their common theme of entrapment notwithstanding, these stories all end by affirmi","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"4 1","pages":"62 - 63"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74662791","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":"SMALL SCREEN, BIG FEELS: TELEVISION AND CULTURAL ANXIETY IN THE TWENTY-FIRST CENTURY By Melissa Ames. U of Kentucky P, 2020. 300 pp. $50 hardcover.","authors":"H. Humann","doi":"10.1080/01956051.2020.1868922","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868922","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"8 1","pages":"66 - 67"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77711494","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":"APOCALYPTIC VISIONS IN 21ST CENTURY FILMS. By Elizabeth A. Ford and Deborah C. Mitchell. McFarland Press, 2018. 229 pp. $49.95 paper.","authors":"Claire Meldrum","doi":"10.1080/01956051.2020.1868914","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868914","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"55 1","pages":"63 - 64"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86859761","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 STYLE OF SLEAZE: THE AMERICAN EXPLOITATION FILM, 1959–1977. By Calum Waddell. University of Edinburgh Press, 2019. 224 pp. $29.95 softcover.","authors":"K. Flanagan","doi":"10.1080/01956051.2020.1868916","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868916","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"96 1","pages":"65 - 66"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87698784","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":"A Face in the Crowd (1957): History and Relevancy, from the Dawn of Television to the Digital Age","authors":"Chris Yogerst","doi":"10.1080/01956051.2020.1772710","DOIUrl":"https://doi.org/10.1080/01956051.2020.1772710","url":null,"abstract":"Abstract: Over the years, critics and historians have come back to Elia Kazan’s A Face in the Crowd periodically and with varying enthusiasm. This essay will show how the film’s influence of real-world media manipulators has increased its power and has renewed relevance in the digital era.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"31 1","pages":"16 - 29"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81424359","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":"Quality TV, Turkish Television History, and the Transformation of Sıfır Bir","authors":"Savaş Arslan, T. Teti̇k","doi":"10.1080/01956051.2020.1769018","DOIUrl":"https://doi.org/10.1080/01956051.2020.1769018","url":null,"abstract":"ABSTRACT: Turkish television has undergone a transformation in recent decades due to the rising global popularity of Turkish series; the proliferation of viewership; and the introduction of cable, digital, online, and OTT (over-the-top) platforms. The result has been increasingly higher-quality TV content. This article traces the history of Turkish television with a look at how the Turkish television-series market has evolved into one which produces globally marketed content and how the discourses on quality TV informed such developments. The article also demarcates the history of television in Turkey into three different phases by underlining major changes and by proposing a novel periodization. Then, the contemporary rendering of “quality” is illustrated through a six-season-long, hit crime drama series, Sıfır Bir: Bir Zamanlar Adana’da (Zero One: Once Upon a Time in Adana, 2016–2019). The article argues that while the first two seasons of the series illustrate an independent, low-budget Web production based on a true story, after a transitional third season, the final three seasons feature an institutionalized “quality” drama on a national OTT platform at the expense of its earlier authenticity and naturalism.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"34 1","pages":"40 - 51"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76045182","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}