false 440714 0 0 206966 0822327376 9780822327370 2 <![CDATA[Hop on Pop: The Politics and Pleasures of Popular Culture]]> http://photo.goodreads.com/books/1172683906m/206966.jpg http://photo.goodreads.com/books/1172683906s/206966.jpg http://www.goodreads.com/book/show/206966.Hop_on_Pop_The_Politics_and_Pleasures_of_Popular_Culture 4.15 13 Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies.

The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study.

Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader.

Contributors: John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi]]> 21885 3.81 346 66 194830 4.21 95 12 440714 4.07 14 2 2002 850913 0415910889 9780415910880 0 <![CDATA[The Talking Cure: Women and Daytime Talk Shows]]> http://photo.goodreads.com/books/1178900559m/850913.jpg http://photo.goodreads.com/books/1178900559s/850913.jpg http://www.goodreads.com/book/show/850913.The_Talking_Cure_Women_and_Daytime_Talk_Shows 3.00 1 In The Talking Cure, critic Jane Shattuc takes a hard look at television talk shows, a TV genre that in many ways is for and about women. Tracing the genre from the four top nationally syndicated shows of the 1980s--Donahue, the The Oprah Winfrey Show, Geraldo and Sally Jessy Raphael--to the rise of the Ricki Lake phenonmenon of the 1990s, Jane Shattuc offers a new take on how talk shows and their audiences interact.

Much of talk show culture is grounded, Shattuc argues, in feminist politics, a stand that is not always the aim of the television industry. Analyzing programs as diverse as "Transsexuals: You're Not the Man I Married" and "Serial Killers: The Sunset Murders," she reveals how television as an institution needs to appeal to women, but also wants to channel female desires: the industry resorts to fears, sensations, and stereotypes so that its viewers will want what TV wants them to want. At their worst, these shows are television at its most exploitative, where socially marginal people are paraded for profit. Yet at their best, these same talk shows provide a rare public forum for working-class women and women of different sexual orientations. In many ways, these talk shows, by popularizing feminist identity politics, represent American TV at its most radical. The Talking Cure looks at how these contradictory impulses work, offering a refreshingly complex view of one of the most controversial faces of popular culture. programming (Oprah garnering 19 million viewers per show). They serve as one of the few public forums where women from the working class and with different sexual orientations have a voice. In many ways, these talk shows represent American TV at its most radical as they popularize feminist identity politics.

Without adopting an overly naive view of the benevolence of corporate captialism, Jane Shattuc examines the tension between talk's feminist politics and the television industry. In their need to appeal to women and channel the female desires, the television institution trades on sensation, stereotypes and fears in order to engender product consumption. However, this genre is not a simple, one way form of social interaction. The female audience complies and resists in a complex give-and-take, and it is this relationship which The Talking Cure aims to understand and reveal.

]]> 440714 4.07 14 2 1997 1232114 0816624550 9780816624553 0 <![CDATA[Television, Tabloids, and Tears: Fassbinder and Popular Culture]]> http://www.goodreads.com/images/nocover-111x148.jpg http://www.goodreads.com/images/nocover-60x80.jpg http://www.goodreads.com/book/show/1232114.Television_Tabloids_and_Tears_Fassbinder_and_Popular_Culture 0.0 0 Television, Tabloids, and Tears was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

"I am Biberkopf," Rainer Werner Fassbinder declared, aligning himself with the protagonist of his widely seen television adaptation of Berlin Alexanderplatz. The statement provoked an unprecedented national debate about what constituted an acceptable German artist and who has the power to determine art. More than any recent German director, Fassbinder embodied this debate, and Jane Shattuc shows us how much this can tell us, not just about the man and his work, but also about the state of "culture" in Germany.

It is fascinating in itself that Fassbinder, a highly controversial public figure, was chosen to direct Berlin Alexanderplatz, Germany's longest, costliest, and most widely viewed television drama. Shattuc exposes the dichotomy of institutional support for this project versus the scandalous controversial reputation of Fassbinder as a gay man who flaunted his sexuality and involvement with drugs.

Fassbinder built his reputation on two separate images of the director-the faithful adapter and the underground star; with Berlin Alexanderplatz these two identities came together explosively. Tracing the two artistic paths that led Fassbinder to this moment, Shattuc offers us a look at cultural class divisions in Germany. Her account of Fassbinder's history as an Autor reveals both the triumph and the failure of bourgeois cultural domination in postwar West Germany.

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