Suchergebnisse

Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- List of illustrations -- Acknowledgements -- Introduction -- Part I Screens and things -- 1 The Marx Brothers: From stage to screen -- 2 Betty Boop's animated performances -- 3 Performing the pandemic -- Part II Boxed sets -- 4 Puppet plays: Boxes are made to be broken -- 5 I Love Lucy: From live performance to canned entertainment -- 6 Do you hear the people sing? -- Part III Stars in our eyes -- 7 Like a diva: From Maria Callas to Madonna -- 8 Beyoncé's Homecoming | 'Lift Every Voice and Sing' -- 9 Got Talent -- Part IV Public arts/art's publics -- 10 Fragments of the past, cabinets of curiosity and cultural convergences -- 11 Marina Abramović is present -- 12 Pepper's Ghost and the haunted, educational exhibits at Wellington Museum -- Part V Sporting arenas and fields of play -- 13 The fix is in: Professional wrestling -- 14 Olympian opening ceremonies -- 15 Cheerleaders in the popular (American) imagination -- Part VI Sideshows no more -- 16 Evangelical performance: From morality plays to the Power Team and Hell House -- 17 Queer shows -- 18 Feminism: One step forward, three steps back? -- Part VII Culture shows -- 19 Performing Māori -- 20 Shakespeare's Globe Theatre: Planted in London, popping up in Auckland -- 21 Making a show of royalty -- Part VIII Power, politics and protest -- 22 Donald Trump and the pro-wrestling-ification of politics in the USA -- 23 Race matters -- 24 Visions of the apocalypse -- Index.

An exploration of "cumulative narrative" focuses on the story of the abduction of Samantha Mulder, FBI Special Agent Fox Mulder's younger sister, on the TV series, The X-Files. Perusal of the recurring Samantha theme over the seven seasons aired in the UK through 2000 notes that Fox Mulder's pursuit of answers related to the X-files is motivated by his desire to discover the truth behind his sister's abduction. The Samantha narrative is considered in light of both a "popular culture of conspiracy," which involves the production, circulation, & consumption of conspiracy theories in popular culture, & the "conspiracy of popular culture," which centers on how "fringe knowledges" about things like alien abductions achieve mass exposure & popularity. The X-Files includes the essential elements of conspiracy theories while emphasizing the search for "truth," but it is just one of many pop-cultural products with conspiracy at its core. Theodor Adorno's (1994) astrological readings are drawn on to examine the knowledge, commodity, & culture forms/functions that help to shape the current landscape of conspiracy. 25 References. J. Lindroth

This course examines popular culture and the emergence of mass culture in the United States. Itstarts from the premise that popular culture, far from being a frivolous or debased alternative to"high culture", is in fact an important site of popular expression, social instruction, and culturalconflict, and thus deserves critical attention. We examine theoretical texts that help us to "read"popular culture, even as we study specific forms and artifacts of popular culture: from televisionshows to Hollywood movies, graphic novels to advertisements, and popular music to fiction.Throughout the course, we ground what we call "culture" in political, economic, and socialcontexts. We pay special attention to the ways popular culture mediates and produces pleasure,disgust, satisfaction, and fear and to how popular culture influences and is influenced by politicaland social structures.

"With intense and violent portrayals of death becoming ever more common on television and in cinema and the growth of death-centric movies, series, texts, songs and video clips attracting a wide and enthusiastic global reception, we might well ask whether death has ceased to be a taboo. What makes thanatic themes so desirable in popular culture? Do representations of the macabre and gore perpetuate or sublimate violent desires? Has contemporary popular culture removed our unease with death? Can social media help us to cope with our mortality, or can music and art present death as an aesthetic phenomenon? This volume adopts an interdisciplinary approach to the discussion of the social, cultural, aesthetic and theoretical aspects of the ways in which in popular culture understands, represents and manages death, bringing together contributions from around the world focused on television, cinema, popular literature, social media and the internet, art, music and advertising"--