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Full of It (DVD)
Ryan Pinkston, Kate Mara, Teri Polo, Craig Kilborn, John Carroll Lynch, …
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R55
Discovery Miles 550
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Ships in 10 - 20 working days
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Comedy about the new boy in town whose self-aggrandizing lies come
home to roost. Sam Leonard (Ryan Pinkston) is the new kid at
Bridgeport High and - sporting a Neil Diamond c.1971 haircut and
having just been dropped off from an Isuzu sedan - his work is cut
out for him in the making pals dept. Sam's counsellor advises him
that twisting the truth might be the way to make friends so he
becomes a full-on pants-on-fire case. By lunchtime, as far as
everyone is concerned, his Porsche is in the shop, his dad is a
pretty big rockstar and a few hot babes including one blonde young
teacher are even taking a shine to him. His worries about being
found out are soon allayed by dint of the fact that his lies, after
a magical mirror breaking incident, start to come true. His dad is
a washed-up hippie muso who signs him a beer now and then, there's
a red Porsche in the garage belonging to him and he's the top
shooter on the school basketball team. Only one girl sees through
it all - the one girl who liked him without the lies anyway...
This collection of essays presents a sampling of film and
television texts, interrogating images of U.S. masculinity. Rather
than using "postfeminist" as a definition of contemporary feminism,
this collection uses the term to designate the period from the late
1980s on-as a point when feminist thought gradually became more
mainstream. The movies and TV series examined here have achieved a
level of sustained attention, from critical acclaim, to mass
appeal, to cult status. Instead of beginning with a set hypothesis
on the effect of the feminist movement on images of masculinity on
film and television, these chapters represent a range of responses,
that demonstrate how the conversations within these texts about
American masculinity are often open-ended, allowing both male
characters and male viewers a wider range of options. Defining the
relationship between U.S. masculinity and American feminist
movements of the twentieth century is a complex undertaking. The
essays collected for this volume engage prominent film and
television texts that directly interrogate images of U.S.
masculinity that have appeared since second-wave feminism. The
contributors have chosen textual examples whose protagonists
actively struggle with the conflicting messages about masculinity.
These protagonists are more often works-in-progress, acknowledging
the limits of their negotiations and self-actualization. These
chapters also cover a wide range of genres and decades: from action
and fantasy to dramas and romantic comedy, from the late 1970s to
today. Taken together, the chapters of Screening Images of American
Masculinity in the Age of Postfeminism interrogate "the possible"
screened in popular movies and television series, confronting the
multiple and competing visions of masculinity not after or beyond
feminism but, rather, in its very wake.
This collection of essays presents a sampling of film and
television texts, interrogating images of U.S. masculinity. Rather
than using "postfeminist" as a definition of contemporary feminism,
this collection uses the term to designate the period from the late
1980s on-as a point when feminist thought gradually became more
mainstream. The movies and TV series examined here have achieved a
level of sustained attention, from critical acclaim, to mass
appeal, to cult status. Instead of beginning with a set hypothesis
on the effect of the feminist movement on images of masculinity on
film and television, these chapters represent a range of responses,
that demonstrate how the conversations within these texts about
American masculinity are often open-ended, allowing both male
characters and male viewers a wider range of options. Defining the
relationship between U.S. masculinity and American feminist
movements of the twentieth century is a complex undertaking. The
essays collected for this volume engage prominent film and
television texts that directly interrogate images of U.S.
masculinity that have appeared since second-wave feminism. The
contributors have chosen textual examples whose protagonists
actively struggle with the conflicting messages about masculinity.
These protagonists are more often works-in-progress, acknowledging
the limits of their negotiations and self-actualization. These
chapters also cover a wide range of genres and decades: from action
and fantasy to dramas and romantic comedy, from the late 1970s to
today. Taken together, the chapters of Screening Images of American
Masculinity in the Age of Postfeminism interrogate "the possible"
screened in popular movies and television series, confronting the
multiple and competing visions of masculinity not after or beyond
feminism but, rather, in its very wake.
Popular American fiction has now secured a routine position in the
higher education classroom despite its historic status as
culturally suspect. This newfound respect and inclusion have almost
certainly changed the pedagogical landscape, and Teaching Tainted
Lit explores that altered terrain. If the academy has historically
ignored, or even sneered at, the popular, then its new
accommodation within the framework of college English is
noteworthy: surely the popular introduces both pleasures and
problems that did not exist when faculty exclusively taught
literature from anestablished "high" canon. How, then, does the
assumption that the popular matters affect teaching strategies,
classroom climates, and both personal and institutional notions
about what it means to study literature? The essays in this
collection presume that the popular is here to stay and that its
instructive implications are not merely noteworthy,but richly
nuanced and deeply compelling. They address a broad variety of
issues concerning canonicity, literature, genre, and theclassroom,
as its contributors teach everything from Stephen King and Lady
Gaga to nineteenthcentury dime novels and the 1852bestseller Uncle
Tom's Cabin. It is no secret that teaching popular texts fuels
controversies about the value of cultural studies, the alleged
relaxation of aestheticstandards, and the possible "dumbing down"
of Americans. By implicitly and explicitly addressing such
contentious issues, these essays invite a broader conversation
about the place of thepopular not only in higher education but in
the reading lives of all Americans.
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