Hop on Pop

Henry Jenkins

Description

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

Sujets

• Sociologie, société et politique
• Popular culture

Informations

• Publié par: Duke University Press
• Date de parution: 23 janvier 2003
• Nombre de lectures: 0
• EAN13: 9780822383505
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

HOPONPOP

The Politics

and Pleasures

of Popular

Culture HOP

Edited by

ON

Henry Jenkins,

Tara McPherson,

& Jane Shattuc

duke university press

POP

durham & london 2002

© 2002 Duke University Press All rights reserved Printed in the United States of America on acid-free paper   Designed by Amy Ruth Buchanan Typeset in Minion by G&S Typesetters, Inc. Library of Congress Cataloging- in-Publication Data appear on the

last printed page of this book.

Contents

Acknowledgments

ix

i. introduction

1

The Culture That Sticks to Your Skin: A Manifesto for a New Cultural Studies Henry Jenkins, Tara McPherson, and Jane Shattuc• 3

Defining Popular Culture Henry Jenkins, Tara McPherson, and Jane Shattuc• 26

ii. self • 43 Daytime Utopias: If You Lived in Pine Valley, You’d Be Home Elayne Rapping• 47

Cardboard Patriarchy: Adult Baseball Card Collecting and the Nostalgia for a Presexual Past John Bloom• 66

Virgins for Jesus: The Gender Politics of Therapeutic Christian Fundamentalist Media Heather Hendershot• 88

“Do We Look Like Ferengi Capitalists to You?” Star Trek’s Klingons as Emergent Virtual American Ethnics Peter A. Chvany• 105

The Empress’s New Clothing? Public Intellectualism and Popular Culture Jane Shattuc• 122

“My Beautiful Wickedness”:The Wizard of Oz as Lesbian Fantasy Alexander Doty• 138

iii. maker • 159 “Ceci N’est Pas une Jeune Fille”: Videocams, Representation, and “Othering” in the Worlds of Teenage Girls Gerry Bloustien• 162

“No Matter How Small”: The Democratic Imagination of Dr. Seuss Henry Jenkins• 187

An Auteur in the Age of the Internet: JMS, Babylon 5,and the Net Alan Wexelblat• 209

“I’m a Loser Baby”: Zines and the Creation of Underground Identity Stephen Duncombe• 227

iv. performance

251

“Anyone Can Do It”: Forging a Participatory Culture in Karaoke Bars Robert Drew• 254

Watching Wrestling / Writing Performance Sharon Mazer• 270

Mae West’s Maids: Race, “Authenticity,” and the Discourse of Camp Pamela Robertson Wojcik• 287

“They Dig Her Message”: Opera, Television, and the Black Diva Dianne Brooks• 300

How to Become a Camp Icon in Five Easy Lessons: Fetishism—and Tallulah Bankhead’s Phallus Edward O’Neill• 316

v. taste • 339 “It Will Get a Terrific Laugh”: On the Problem- atic Pleasures and Politics of Holocaust Humor Louis Kaplan• 343

The Sound of Disaffection Tony Grajeda• 357

Corruption, Criminality, and the Nickelodeon Roberta E. Pearson and William Uricchio• 376

“Racial Cross-Dressing” in the Jazz Age: Cultural Therapy and Its Discontents in Cabaret Nightlife Nicholas M. Evans• 388

The Invisible Burlesque Body of La Guardia’s New York Anna McCarthy• 415

Quarantined! A Case Study of Boston’s Combat Zone Eric Schaefer and Eithne Johnson• 430

vi. change • 455 On Thrifting Matthew Tinkcom, Joy Van Fuqua, and Amy Villarejo• 459

Shopping Sense: Fanny Fern and Jennie June on Consumer Culture in the Nineteenth Century Elana Crane• 472

NavigatingMyst-y Landscapes: Killer Applications and Hybrid Criticism Greg M. Smith• 487

The Rules of the Game:Evil Dead II. . . Meet ThyDoom Angela Ndalianis• 503

Seeing in Black and White: Gender and Racial Visibility fromGone with the WindtoScarlett Tara McPherson• 517

vii. home • 535 “The Last Truly British People You Will Ever Know”: Skinheads, Pakis, and Morrissey Nabeel Zuberi• 539

Finding One’s Way Home:I Dream of Jeannie and Diasporic Identity Maria Koundoura• 556

As Canadian as Possible . . . : Anglo-Canadian Popular Culture and the American Other Aniko Bodroghkozy• 566

Wheels of Fortune: Nation, Culture, and the Tour de France Catherine Palmer• 589

Narrativizing Cyber-Travel: CD - ROM Travel Games and the Art of Historical Recovery Ellen Strain• 605

Hotting, Twocking, and Indigenous Shipping: A Vehicular Theory of Knowledge in Cultural Studies John Hartley• 622

viii. emotion

647

“Ain’t I de One Everybody Come to See?!” Popular Memories ofUncle Tom’s Cabin Robyn R. Warhol• 650

Stress Management Ideology and the Other Spaces of Women’s Power Kathleen Green• 670

“Have You Seen This Child?” From Milk Carton tomeıˆAbn--eseMi Eric Freedman• 689

Introducing Horror Charles E. Weigl• 700

About the Contributors

Name Index

733

721

Acknowledgments

From the Editors ofHop on Pop:

We would like to express our appreciation to all those who contributed their hard work in the preparation of this book. Early on, Briony Keith facilitated the initial phase of identifying contrib- utors and corresponding with them about their submissions. Shari Goldin did heroic work in bat- tling computer viruses and getting the manuscript into final form for submission. R. J. Bain and Susan Stapleton worked with us to ensure that the proofreading process went smoothly. We also wanted to thank Ken Wissoker, who has believed in this project from the very start, and Deborah Wong, who came to our rescue and turned every- thing around in our darkest hours.

From Henry Jenkins:

This book centers around the ways that our writ- ing and scholarship are informed by the experi- ences of our everyday life. So it is fitting to take a moment to thank those people who, on the one hand, keep me grounded in reality and, on the other hand, make my life much more than every- day. Thanks to Cynthia Jenkins, who shapes every- thing I write; Henry Jenkins IV, who has become almost as good an editor as his mother and a bet- ter writer than his father; H. G. and Lucile Jenkins, who continue to inspire me to greatness; and Jim and Ann Benson, who are the most supportive in- laws anyone could ask for. This book reflects a de- cade of conversations with friends and colleagues too numerous to name (if you think your name belongs here, please insert it on your copy and as- sume that I meant it to be there all along). This is perhaps a fitting place to aknowledge the contri- butions Alex Chisholm has made to my intellec-

tual and professional life over the past three years. His energy, his pragmatism, his creativity, and his courage make all things possible. And finally, thanks to Tara and Jane, who have been in there for what has been the longest, bumpiest ride of my academic career, and to the contributors, whose patience surpasses all human understanding.

From Tara McPherson:

This book has been a long time coming, so it al- most seems impossible to thank all the colleagues, friends, and family who have provided modes of sustenance throughout its long production. So, here I offer both a “blanket” thank you as well as a couple of more precise ones. The first round of thanks are due to Henry, Jane, and this volume’s contributors; I offer each of them my gratitude for riding out this process. Next, becauseHop on Pop tracks the circuits of exchange between the popu- lar and the political, examining how culture be- comes meaningful in daily life, I want to thank several folks outside the confines of the academy. My own engagements with the popular are con- tinually enriched via my association with a circle of friends endearingly known as “The Fun Club.” Most of these pals earn their respective livings in what we in academe often disparagingly call the “culture industries,” working as film andtv writers, editors, directors, and producers. These friendships have taught me just how impoverished many of our cultural theories of production and consumption really are, for I’ve watched various Fun Club members tussle with the politics of pro- duction on a daily basis. Their struggles to bring together the popular and the political illustrate both the possibilities and the limits of the indus- try, and I applaud their commitment to bringing new images of gender, sexuality, and race to life in Hollywood. My understanding of the popular is also enlivened by daily conversations with my chief coconspirator, Rob Knaack, whose insights into everyday life and everyday ethics continue to im-