No Joke is a detailed examination of Todd Phillips’s Joker, one of the biggest global box-office hits of 2019. While his success was no doubt partly because of the association of its title character with the Batman superhero franchise, Joker is anything but a flashy superhero romp. It does explore the pathologies of its central character and suggest ways in which his life experiences might have driven him to become a supervillain, the arch-enemy of Batman. At the same time, the film leaves open the possibility that its “Joker” is not, in fact, the same as the one conventionally associated with Batman. In fact, the film leaves open many interpretive possibilities, in keeping with the complex work of postmodern art that it turns out to be. Joker also engages in extensive dialogues with a range of works from modern American culture, especially the films of the 1970s and 1980s, the period in which the action of Joker is set. Moreover, Joker is a highly political film that comments in important ways on American political history from roughly the beginning of the presidency of Richard Nixon through the end of the Trump presidency, with a special focus on the Reagan years. It also comments in more general and fundamental ways on the very nature of American society and American capitalism. All this, and more, is covered in M. Keith Booker’s analysis of one of the most talked-about films of recent years.

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The history of science fiction film now spans more than 100 years, during which time more than 1000 science fiction films of various kinds have been made, thanks to the contributions of filmmakers from around the world. The versatility of science fiction film has allowed it to expand into a variety of different markets, appealing to age groups from small children to adults and to filmgoers of a variety of tastes, and the filmmaking technology is leading the way in technical advances that have enabled a new sophistication in visual effects. This second edition of Historical Dictionary of Science Fiction Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on important personalities, films, companies, techniques, themes, and subgenres. This book is an excellent resource for students, researchers, and anyone wanting to know more about science fiction cinema.

The Evolution of Horror in the Twenty-First Century examines the intimate connections between the horror genre and its audience's experience of being in the world at a particular historical and cultural moment. This book not only provides frameworks with which to understand contemporary horror, but it also speaks to the changes wrought by technological development in creation, production, and distribution, as well as the ways in which those who are traditionally underrepresented positively within the genre- women, LGBTQ+, indigenous, and BAME communities - are finally being seen and finding space to speak.

Supernatural and superhuman elements have been prominent in American culture from the time of the New England Puritans' intense emphasis on religion. "Superpower" surveys the appearance of supernatural and superhuman elements in American culture, focusing on the American fascination with narratives involving supernatural adventure, superhuman heroes, and vast conspiracies driven by supernatural evil. In particular, M. Keith Booker suggests that the popularity of such themes indicates a deep-seated dissatisfaction with the rationalized world of contemporary American society. Booker details the development of the national myths underlying the characters of Superman, Batman, and Spiderman; television hits from "Star Trek" to "Lost"; and the franchises of "Pirates of the Caribbean" and "The Lord of the Rings." This culture-spanning investigation begins with a historical survey of supernatural and superhuman themes in American culture and concludes with the recent upsurge that began in the 1990s. It then turns to various works of recent popular culture with supernatural and superhuman themes such as "Twin Peaks," "The X-Files," and "Buffy the Vampire Slayer," organized according to the desires to which these works respond. What do these fantasies reveal about what it means to be American today--and what we want it to mean?

In a postmodern world of globalised capital, how does the concept of Orientalism inform understandings of cultural exchange? In this detailed and wide-ranging examination, Arab popular culture is explored in its relation to American culture and capitalism. Offering new insights on Edward Said's longstanding theoretical lens, Consumerist Orientalism presents an updated conceptual framework through which to understand the intercultural relationship between East and West, exploring a wide range of cultural production; from an Oscar-nominated Jordanian film to Turkish-Arab soap operas and Arab-diaspora rap. Drawing on key contemporary critical thinkers and in-depth cultural analysis, the relationship between capitalism, postmodernism and Orientalism is explored with fresh insights, making this essential reading for students of Middle Eastern culture, globalisation and postcolonial studies.

In a postmodern world of globalised capital, how does the concept of Orientalism inform understandings of cultural exchange? In this detailed and wide-ranging examination, Arab popular culture is explored in its relation to American culture and capitalism. Offering new insights on Edward Said's longstanding theoretical lens, Consumerist Orientalism presents an updated conceptual framework through which to understand the intercultural relationship between East and West, exploring a wide range of cultural production; from an Oscar-nominated Jordanian film to Turkish-Arab soap operas and Arab-diaspora rap. Drawing on key contemporary critical thinkers and in-depth cultural analysis, the relationship between capitalism, postmodernism and Orientalism is explored with fresh insights, making this essential reading for students of Middle Eastern culture, globalisation and postcolonial studies.

Future Folk Horror: Contemporary Anxieties and Possible Futures analyzes folk horror by looking at its recent popularity in novels and films such as The Witch (2015), and Candyman (2021). Countering traditional views of the genre as depictions of the monstrous, rural, and pagan past trying to consume the present, the contributors to this collection posit folk horror as being able to uniquely capture the anxieties of the twenty-first century, caused by an ongoing pandemic and the divisive populist politics that have arisen around it. Further, this book shows how, through its increasing intersections with other genres such as science fiction, the weird, and eco-criticism as seen in films and texts like The Zero Theorum (2013), The Witcher (2007–21), and Annihilation (2018) as well as through its engagement with topics around climate change, racism, and identity politics, folk horror can point to other ways of being in the world and visions of possible futures.

Literary studies of James Joyce, perhaps more so than those of any other author, have been enriched by important developments in literary theory in the last twenty-five years. Noting a curious gap in this scholarship, M. Keith Booker brings the work of Mikhail Bakhtin, unquestionably one of the most important literary theorists of this century, to bear on Joyce's dialogues not only with Homer, Dante, and Shakespeare, his three most obvious predecessors, but with Rabelais, Goethe, and Dostoevsky, three literary figures important in Bakhtin's theoretical work. Together, the comparative readings in these six chapters suggest a Joyce whose texts are very much in touch with the everyday lives of ordinary people despite Joyce's extensive engagement with the literary tradition; a Joyce whose work differs radically from conventional notions of modernist literature as culturally elitist, historically detached, and more interested in individual psychology than in social reality.

This work applies Mikhail Bakhtin's theory of literary discourse and the concept of carnivalisation to the work of Flann O'Brien. The author emphasises the political and social implications of the writings, arguing that O'Brien maintained a reflexive focus on language throughout his career.

Bakhtin, Stalin, and Modern Russian Fiction presents an advanced introduction to the work of the Russian theorist Mikhail Bakhtin, focusing on the concepts of carnival, dialogism, and historicism. The discussion of Bakhtin pays particular attention to the impact of his historical context in the Soviet Union and to the importance of his own dialogic mode of discourse. Bakhtin's ideas are then placed in dialogic relation to the works of several important writers of modern Russian fiction, including Vassily Aksyonov, Ilf and Petrov, Mikhail Zoshchenko, Yuz Aleshkovsky, Andrei Bitov, and Sasha Sokolov.

For more than three decades, Joel and Ethan Coen have produced some of the most unique and thought-provoking works in modern cinema. In broad comedies such as Raising Arizona, violent thrillers like No Country for Old Men, and black comedies such as Fargo, the filmmakers have offered brilliant takes on a variety of film genres. One of the most distinctive features of their movies is their skewed view of America itself. In The Coen Brothers' America, M. Keith Booker discusses feature films produced by the pair since their 1984 debut Blood Simple. The author focuses on how the Coen brothers' films engage with American cultural history and are embedded in specific geographical settings. From New York to Los Angeles, from Texas to Minnesota, the Coens capture the essence of real locations from unusual angles, which often make the films appear as if they are taking place in an alternate reality. In addition, many of the brothers' films are steeped in America's cultural past, from the deep south of the 1930s in O Brother, Where Art Thou to the Greenwich Village of the 1960s in Inside Llewyn Davis. The Coens make particularly effective use of films from Hollywood's Golden Age, producing their own updated versions of such genres as film noir (The Man Who Wasn't There), the Western (True Grit), and screwball comedy (The Hudsucker Proxy)-not to mention their idiosyncratic depictions of Hollywood itself in Barton Fink and Hail Caesar! This book also explores how the Coens draw upon cultural phenomena outside of film, including literature, music, and television. Approaching each film within the framework of Ethan and Joel's overall vision. The Coen Brothers' America provides an entertaining look at the pair's work that will appeal to scholars and fans alike.

This text introduces the Caribbean anglophone novel to students. This text offers introductory essays on eight major Caribbean novels and shorter essays on ten other Caribbean novels, as well as a brief historical survey of the development of the Caribbean novel. North America: Heinemann; Caribbean: Ian Randle Publishers

One of the most powerful forces in world culture, American cinema has a long and complex history that stretches through more than a century. This history not only includes a legacy of hundreds of important films but also the evolution of the film industry itself, which is in many ways a microcosm of the history of American society. Historical Dictionary of American Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries covering people, films, companies, techniques, themes, and subgenres that have made American cinema such a vital part of world culture.

First airing in 1966, with a promise to "boldly go where no man has gone before," Star Trek would eventually become a bona fide phenomenon. Week after week, viewers of the series tuned in to watch Captain Kirk, Spock, and the rest of the crew of the USS Enterprise as they conducted their five-year mission in space. Their mission was cut short by a corporate monolith that demanded higher ratings, but Star Trek lived on in syndication, ultimately becoming a multibillion-dollar media franchise. With merchandise spin-offs, feature films, and several television iterations-from The Next Generation to Discovery-Star Trek is a firmly established part of the American cultural landscape. In Star Trek: A Cultural History, M. Keith Booker offers an intriguing account of the series from its original run to its far-reaching impact on society. By placing the Star Trek franchise within the context of American history and popular culture, the author explores how the series engaged with political and social issues such as the Vietnam War, race, gender, and the advancement of technology. While this book emphasizes the original series, it also addresses the significance of subsequent programs, as well as the numerous films and extensive array of novels, comic books, and merchandise that have been produced in the decades since. A show that originally resonated with science fiction fans, Star Trek has also intrigued the general public due to its engaging characters, exciting plotlines, and vision of a better future. It is those exact elements that allowed Star Trek to go from simply a good show to the massive media franchise it is today. Star Trek: A Cultural History will appeal to scholars of media, television, and popular culture, as well as to fans of the show.

Widely regarded as one of the greatest television series of all time, The Sopranos is also considered one of the most significant achievements in contemporary American culture. IThe series spearheaded the launch of a new wave of quality programming that has transformed the way people watch, experience, and talk about television. By chronicling the life and crimes of a New Jersey mobster, his family, and his cronies, The Sopranos examines deep themes at the heart of American life, particularly the country's seedy underbelly. In Tony Soprano's America: Gangsters, Guns, and Money, M. Keith Booker and Isra Daraiseh explore the central role of the series in American cultural history. While examining the elements that account for the show's popularity and critical acclaim, the authors also contend that The Sopranos revolutionized the way audiences viewed television in general and cable programming as well. This book demonstrates how a show focused on an ethnic antihero somehow reflected common themes of contemporary American life, including ethnicity, class, capitalism, therapy, and family dynamics. Providing a sophisticated yet accessible account of the groundbreaking series-a show that rivals film and literature for its beauty and stunning characterization of modern life-this book engages the reader with ideas central to the American experience. Tony Soprano's America brings to life this profound television program in ways that will entertain, engage, and perhaps even challenge longtime viewers and critics.

From the opening credits that feature a silhouette falling among skyscrapers, Mad Men transcended its role as a series about the Madison Avenue advertising industry to become a modern classic. For seven seasons, Mad Men asked viewers to contemplate the 1960s anew, reassessing the tumultuous era's stance on women's rights, race, war, politics, and family relationships that comprise the American Dream. Set in the heart of the twentieth century, the show brought to light how deeply we still are connected to that age. The result is a show that continually asks us to rethink our own families, lives, work, and ethical beliefs as we strive for a better world. In Mad Men: A Cultural History, M. Keith Booker and Bob Batchelor offer an engaging analysis of the series, providing in-depth examinations of its many themes and nostalgic portrayals of the years from Camelot to Vietnam and beyond. Highly regarded cultural scholars and critics, Booker and Batchelor examine the show in its entirety, presenting readers with a deep but accessible exploration of the series, as well as look at its larger meanings and implications. This cultural history perspective reveals Mad Men's critical importance as a TV series, as well as its role as a tool for helping viewers understand how they are shaped by history and culture. As a showcase in America's new "golden age of television," Mad Men reveals the deep hold history and nostalgia have on viewers, particularly when combined with stunning visuals and intricate writing and storylines. With this volume as their guide, readers will enjoy contemplating the show's place among the most lauded popular culture touchstones of the twenty-first century. As it engages with ideas central to the American experience-from the evolution of gender roles to family dynamics and workplace relationships-Mad Men: A Cultural History brings to life the significance of this profound yet entertaining series.

Focusing on the intersection of literature and politics since the beginning of the 20th century, this book examines authors, historical figures, major literary and political works, national literatures, and literary movements to reveal the intrinsic links between literature and history. Literary works have often engaged political issues, and many political writings give close attention to literary concerns. This encyclopedia explores the complex relationship between literature and politics through detailed entries written by expert contributors on authors, historical figures, major literary and political works, national literatures, and literary movements, covering specific themes, concepts, and genres related to literature and politics from the 20th century to the present. The work covers cover authors that include Margaret Atwood, James Baldwin, Philip K. Dick, W.E.B. Du Bois, William Faulkner, Ernest Hemingway, Jack London, Toni Morrison, George Orwell, John Steinbeck, and Virginia Woolf, just to mention a few. International in scope, Literature and Politics Today: The Political Nature of Modern Fiction, Poetry, and Drama covers writing ranging from the beginning of the 20th century to the present, with special emphasis on works written in English. The content of the some 150 alphabetically arranged entries is ideal for high school students working on assignments involving literature to explore such current yet historically ongoing social issues as censorship and propaganda. This book is appropriate for public libraries where it will serve to support student research and to help general readers learn more about enduring political concerns through literary works. Academic libraries will find this reference a valuable guide for undergraduates studying literature, history, political science, law, and other disciplines. Covers numerous authors from around the world ranging from the beginning of the 20th century to the modern era Enables students to better understand literary works central to the curriculum by considering them in their political contexts Helps readers to use literature in order to learn about modern political and social issues across cultures and better appreciate the political significance of contemporary writings Contains a number of "gateway" entries that survey entire national literatures, thereby giving readers an introduction to the authors who are important within those literatures Assists students in evaluating rhetorical strategies and political views, thus fostering critical thinking in support of the Common Core State Standards

Focusing especially on American comic books and graphic novels from the 1930s to the present, this massive four-volume work provides a colorful yet authoritative source on the entire history of the comics medium. Comics and graphic novels have recently become big business, serving as the inspiration for blockbuster Hollywood movies such as the Iron Man series of films and the hit television drama The Walking Dead. But comics have been popular throughout the 20th century despite the significant effects of the restrictions of the Comics Code in place from the 1950s through 1970s, which prohibited the depiction of zombies and use of the word "horror," among many other rules. Comics through Time: A History of Icons, Idols, and Ideas provides students and general readers a one-stop resource for researching topics, genres, works, and artists of comic books, comic strips, and graphic novels. The comprehensive and broad coverage of this set is organized chronologically by volume. Volume 1 covers 1960 and earlier; Volume 2 covers 1960-1980; Volume 3 covers 1980-1995; and Volume 4 covers 1995 to the present. The chronological divisions give readers a sense of the evolution of comics within the larger contexts of American culture and history. The alphabetically arranged entries in each volume address topics such as comics publishing, characters, imprints, genres, themes, titles, artists, writers, and more. While special attention is paid to American comics, the entries also include coverage of British, Japanese, and European comics that have influenced illustrated storytelling of the United States or are of special interest to American readers. Provides historical context within individual entries that allows readers to grasp the significance of that entry as it relates to the broader history and evolution of comics Includes coverage of international material to frame the subsets of American and British comics within a global context Presents information that will appeal and be of use to general readers of comics and supply coverage detailed enough to be of significant value to scholars and teachers working in the field of comics

The Historical Dictionary of Science Fiction in Literature is a useful reference to the broad and burgeoning field of science fiction literature. Science fiction literature has gained immensely in critical respect and attention, while maintaining a broad readership. However, despite the fact that it is a rapidly changing field, contemporary science fiction literature also maintains a strong sense of its connections to science fiction of the past, which makes a historical reference of this sort particularly valuable as a tool for understanding science fiction literature as it now exists and as it has evolved over the years. The Historical Dictionary of Science Fiction in Literature covers the history of science fiction in literature through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries including *significant people; *themes; *critical issues; and *the most significant genres that have formed science fiction literature. This book is an excellent access point for students, researchers, and anyone wanting to know more about this subject.

This work is a wide-ranging survey of American children's film that provides detailed analysis of the political implications of these films, as well as a discussion of how movies intended for children have come to be so persistently charged with meaning. Disney, Pixar, and the Hidden Messages of Children's Films provides wide-ranging scrutiny of one of the most lucrative American entertainment genres. Beyond entertaining children—and parents—and ringing up merchandise sales, are these films attempting to shape the political views of young viewers? M. Keith Booker examines this question with a close reading of dozens of films from Disney, Pixar, Dreamworks, and other studios, debunking some out-there claims—The Ant Bully communist propaganda?—while seriously considering the political content of each film. Disney, Pixar, and the Hidden Messages of Children's Films recaps the entire history of movies for young viewers—from Snow White and the Seven Dwarfs to this year's Up—then focuses on the extraordinary output of children's films in the last two decades. What Booker finds is that by and large, their lessons are decidedly, comfortably mainstream and any political subtext more often than not is inadvertent. Booker also offers some advice to parents for helping children read films in a more sophisticated way.

America has always attempted to define itself through a network of invented myths and national narratives. Historically, this national mythmaking has focused on the building of the nation itself as a sort of grand adventure, as in the notion of manifest destiny, or the taming of the western frontier. This project has also naturally led to a focus on individual heroes, often playing the role of savior and redeemer in ways with clear religious resonances: Christ and "Shane" and Superman, for instance, all share key characteristics. At the same time, these superheroes have often been adolescents, designed to appeal to younger audiences as well. Other hero myths have been more down-to-earth, focusing on heroes who fight against evil, but in a more modest way, as in the case of the hardboiled detective. "Red, White, and Spooked" details the development of our national myths in an effort to try and see what these fantasies can reveal about what it means to be American today, and what we want it to mean.

Beginning with John Winthrop's city upon a hill sermon in 1630, American culture has been informed by a sense of its own exceptional nature. The notion of the Western hemisphere as a new world, a place filled with possibility and even magic, goes back to the initial voyages of Columbus, while the American Revolution gave even more impetus to the idea that the United States was a special place with a unique mission. As a result, America has always attempted to define itself through a network of invented myths and national narratives. "Red, White, and Spooked" details the development of our national myths which can be seen underlying the genres of country and film noir, the characters of Superman, Batman, and Spiderman, television hits like "Deadwood" and "NYPD Blue," and the "Pirates of the Caribbean" and "Lord of the Rings" franchises as well.

This culture-spanning investigation begins with a historical survey of supernatural and superhuman themes in American culture, concluding with the recent upsurge that began in the 1990s. It then turns to a number of thematic chapters that discuss various works of recent popular culture with supernatural and superhuman themes - such as "The X-Files, Smallville, The 4400, Medium, Heroes, Lost," and "The Dead Zone" - organized according to the desires to which these works commonly respond. The object here is to try and see what these fantasies can reveal about what it means to be American today, and what we still want it to mean.

Since the first Superman film came to the screen in 1978, films adapted from comics have become increasingly important as a film form. But 1978 was also important because it was the year of release for Will Eisner's A Contract with God, and Other Stories, generally credited as the first long-form comic book to label itself a graphic novel. Since that time, advances in computer-generated special effects have significantly improved the ability of film to capture the style and action of comics, producing such hugely successful films as X-Men (2000) and Spider-Man (2002). Meanwhile, the genre of the graphic novel has greatly evolved as a form—especially through the works of people like Frank Miller and Alan Moore—taking comics in dramatically new and different directions, generally darker and more serious than conventional comics. Graphic novels have also formed the basis for less visually spectacular, but intelligent and thoughtful films such as Ghost World (2001) and American Splendor (2002). Booker surveys this important development in film history, tracking the movement to a more mature style in comics, and then a more mature style in films about comics. He focuses on detailed discussions of 15 major films or franchises, but also considers the general impact of graphic novels on the style and content of American film in general. The Batman franchise, especially in the 1989 film and in 2005's Batman Begins, has provided adaptations of a classic comic-book motif inflected through the Dark Knight graphic novels of Frank Miller. The marriage of new film technology and the development of the genre of the graphic novel has produced a number of important innovations in film, including such breakthrough efforts in visual art as The Crow (1994), and Sin City (2005). Films such as Road to Perdition (2002) and A History of Violence (2005) have provided interesting adaptations of noirish graphic novels that rely somewhat less on visual style to achieve their effects.