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This volume examines the shift toward positive and more accurate
portrayals of mental illness in entertainment media, asking where
these succeed and considering where more needs to be done. With
studies that identify and analyze the characters, viewpoints, and
experiences of mental illness across film and television, it
considers the messages conveyed about mental illness and reflects
on how the different texts reflect, reinforce, or challenge
sociocultural notions regarding mental illness. Presenting chapters
that explore a range of texts from film and television, covering a
variety of mental health conditions, including autism,
post-traumatic stress disorder (PTSD), depression, and more, this
book will appeal to scholars of sociology, cultural and media
studies, and mental health.
This volume examines the shift toward positive and more accurate
portrayals of mental illness in entertainment media, asking where
these succeed and considering where more needs to be done. With
studies that identify and analyze the characters, viewpoints, and
experiences of mental illness across film and television, it
considers the messages conveyed about mental illness and reflects
on how the different texts reflect, reinforce, or challenge
sociocultural notions regarding mental illness. Presenting chapters
that explore a range of texts from film and television, covering a
variety of mental health conditions, including autism,
post-traumatic stress disorder (PTSD), depression, and more, this
book will appeal to scholars of sociology, cultural and media
studies, and mental health.
There are a variety of theoretical and methodological approaches to
researching how film spectators make sense of film texts, from the
film text itself, the psychological traits and sociocultural group
memberships of the viewer, or even the location and surroundings of
the viewer. However, we can only understand the agency of film
spectators in situations of film spectatorship by studying actual
spectators' interactions with specific film texts in specific
contexts of engagement. Making Sense of Cinema: Empirical Studies
into Film Spectators and Spectatorship uses a number of empirical
approaches (ethnography, focus groups, interviews, historical,
qualitative experiment and physiological experiment) to consider
how the film spectator makes sense of the text itself or the ways
in which the text fits into his or her everyday life. With case
studies ranging from preoccupations of queer and ageing men in
Spanish and French cinema and comparative eye-tracking studies
based on the two completely different soundscapes of Monsters Inc.
and Saving Private Ryan to cult fanbase of the Lord of the Rings
Trilogy and attachment theory to its fictional characters, Making
Sense of Cinema aligns this subset of film studies with the larger
fields of media reception studies, allowing for dialogue with the
broader audience and reception studies field.
Current characters in children's entertainment media illustrate a
growing trend of representations that challenge or subvert
traditional notions of gender and sexuality. From films to picture
books to animated television series, children's entertainment media
around the world has consistently depicted stereotypically
traditional gender roles and heterosexual relationships as the
normal way that people act and engage with one another. Heroes,
Heroines, and Everything in Between: Challenging Gender and
Sexuality Stereotypes in Children's Entertainment Media examines
how this media ecology now includes a presence for
nonheteronormative genders and sexualities. It considers
representations of such identities in various media products (e.g.,
comic books, television shows, animated films, films, children's
literature) meant for children (e.g., toddlers to teenagers). The
contributors seek to identify and understand characterizations that
go beyond these traditional understandings of gender and sexuality.
By doing so, they explore these nontraditional representations and
consider what they say about the current state of children's
entertainment media, popular culture, and global acceptance of
these gender identities and sexualities.
Current characters in children's entertainment media illustrate a
growing trend of representations that challenge or subvert
traditional notions of gender and sexuality. From films to picture
books to animated television series, children's entertainment media
around the world has consistently depicted stereotypically
traditional gender roles and heterosexual relationships as the
normal way that people act and engage with one another. Heroes,
Heroines, and Everything in Between: Challenging Gender and
Sexuality Stereotypes in Children's Entertainment Media examines
how this media ecology now includes a presence for
nonheteronormative genders and sexualities. It considers
representations of such identities in various media products (e.g.,
comic books, television shows, animated films, films, children's
literature) meant for children (e.g., toddlers to teenagers). The
contributors seek to identify and understand characterizations that
go beyond these traditional understandings of gender and sexuality.
By doing so, they explore these nontraditional representations and
consider what they say about the current state of children's
entertainment media, popular culture, and global acceptance of
these gender identities and sexualities.
Since the release of The Exorcist in 1973, there has been a surge
of movies depicting young women becoming possessed by a demonic
force that only male religious figures can exorcise, thereby saving
the women from eventual damnation. This book considers this history
of exorcism cinema by analyzing how the traditional exorcism
narrative, established in The Exorcist, recurs across the exorcism
subgenre to represent the effects of demonic possession and ritual
exorcism. This traditional exorcism narrative often functions as
the central plot of the exorcism film, with only the rare film
deviating from this structure. The analysis presented in this book
considers how exorcism films reflect, reinforce or challenge this
traditional exorcism narrative. Using various cultural and critical
theories, this book examines how representations of possession and
exorcism reflect, reinforce or challenge prevailing social,
cultural, and historical views of women, minorities, and
homosexuals. In particular, exorcism films appear to explore
tensions or fears regarding empowered and sexually active women,
and frequently reinforce the belief that such individuals need to
be subjugated and disempowered so that they no longer pose a threat
to those around them. Even more recent films, produced after the
emergence of third wave feminism, typically reflect this concern
about women. Very rarely do exorcism films present empowered women
and feminine sexuality as non-threatening. In examining this
subgenre of horror films, this book looks at films that have not
received much critical scrutiny regarding the messages they contain
and how they relate to and comment upon the historical periods in
which they were produced and initially received. Given the results
of this analysis, this book concludes on the necessity to examine
how possession and exorcism are portrayed in popular culture.
Reaching back to the beginnings of television, The Greatest Cult
Television Shows offers readers a fun and accessible look at the
100 most significant cult television series of all time, compiled
in a single resource that includes valuable information on the
shows and their creators. While they generally lack mainstream
appeal, cult television shows develop devout followings over time
and exert some sort of impact on a given community, society,
culture, or even media industry. Cult television shows have been
around since at least the 1960s, with Star Trek perhaps the most
famous of that era. However, the rise of cable contributed to the
rise of cult television throughout the 1980s and 1990s, and now,
with the plethora of streaming options available, more shows can be
added to this categorization Reaching back to the beginnings of
television, the book includes such groundbreaking series as The
Twilight Zone and The Prisoner alongside more contemporary examples
like Crazy Ex-Girlfriend and Hannibal. The authors provide
production history for each series and discuss their relevance to
global pop culture. To provide a more global approach to the topic,
the authors also consider several non-American cult TV series,
including British, Canadian, and Japanese shows. Thus, Monty
Python's Flying Circus appears alongside Sailor Moon and Degrassi
Junior High. Additionally, to move beyond the conception of "cult"
as a primarily white, heteronormative, fanboy obsession, the book
contains shows that speak to a variety of cult audiences and
experiences, such as Queer as Folk and Charmed. With detailed
arguments for why these shows deserve to be considered the greatest
of all time, Olson and Reinhard provide ideas for discussion and
debate on cult television. Each entry in this book demonstrates the
importance of the 100 shows chosen for inclusion and highlights how
they offer insight into the period and the cults that formed around
them.
The term "cult film" may be difficult to define, but one thing is
certain: A cult film is any movie that has developed a rabid
following for one reason or another. From highly influential works
of pop art like Eraserhead and Faster, Pussycat! Kill! Kill! to
trash masterpieces such as Miami Connection and Fateful Findings,
thousands of movies have earned recognition as cult classics over
the years, and new movies rise to cult status every year. So how do
viewers searching for the best or most important cult films decide
where to start? In 100 Greatest Cult Films, Christopher J. Olson
highlights the most provocative, intriguing, entertaining, and
controversial films produced over the last century. The movies
included here have either earned reputations as bona fide cult
classics or have in some way impacted our understanding of cult
cinema, often transcending traditional notions of "good" and "bad"
while featuring memorable characters, unforgettably shocking
scenes, and exceptionally quotable dialogue. With detailed
arguments for why these films deserve to be considered among the
greatest of all time, Olson provides readers fodder for debate and
a jumping-off point for future watching. A thought-provoking and
accessible look at dozens of cinematic "treasures," this resource
includes valuable information on the films, creators, and
institutions that have shaped cult cinema. Ultimately, The 100
Greatest Cult Films offers readers-from casual cinephiles, film
scholars, and avid fans alike-a chance to discover or re-discover
some of the most memorable films of all time.
There are a variety of theoretical and methodological approaches to
researching how film spectators make sense of film texts, from the
film text itself, the psychological traits and sociocultural group
memberships of the viewer, or even the location and surroundings of
the viewer. However, we can only understand the agency of film
spectators in situations of film spectatorship by studying actual
spectators' interactions with specific film texts in specific
contexts of engagement. Making Sense of Cinema: Empirical Studies
into Film Spectators and Spectatorship uses a number of empirical
approaches (ethnography, focus groups, interviews, historical,
qualitative experiment and physiological experiment) to consider
how the film spectator makes sense of the text itself or the ways
in which the text fits into his or her everyday life. With case
studies ranging from preoccupations of queer and ageing men in
Spanish and French cinema and comparative eye-tracking studies
based on the two completely different soundscapes of Monsters Inc.
and Saving Private Ryan to cult fanbase of the Lord of the Rings
Trilogy and attachment theory to its fictional characters, Making
Sense of Cinema aligns this subset of film studies with the larger
fields of media reception studies, allowing for dialogue with the
broader audience and reception studies field.
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