Download The Journal of Popular Culture (March/April 2011) PDF
Table of Contents:
Editorial
Gary Hoppenstand
Articles
“Black, White and Blue: Racial Politics in B.B. King's song from the 1960s” through Ulrich Adelt.
“Cinematic Carcerality: legal Metaphors in Film” via Jan Alber.
“Preachers, Gangsters, Pranksters: MC Solaar and Hip-Hop as Overt and Covert Revolt” through Geoffrey Baker.
“Ethics, Authorship, and the illustration of Drag Kings in modern U.S. well known Culture” by means of Maite Escudero-Alías.
“From Making Do to Making-Over: fact television and the Reinvention of Britishness” by means of Rachel Jennings.
“Spider-Man in Love: A Psychoanalytic Interpretation” through Richard L.Kaplan.
“Recent Fictional Takes at the misplaced Hemingway Manuscripts” by way of Ron McFarland.
“A Mediated relations is a contented kin: J.G. Ballard’s ‘Intensive Care Unit’” by way of Jeff W. Marker.
“A Million Little Blogs: group, Narrative, and the James Frey Controversy” by means of Mark Nunes.
“Monstrous Modernism and The Day of the Locust” by way of Martin Rogers.
“The lack of reputation: mental Implications” by way of okay. Bryant Smalley and William D. McIntosh.
“Grunge, rebellion Grrrl and the Forgetting of ladies in renowned Culture” through Catherine powerful.
“Burning Bush: Sitcom remedies of the Bush Presidency" via Stacy Takacs.
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Additional resources for The Journal of Popular Culture (March/April 2011)
Example text
More importantly, Kitwana reiterates the supposed justification for such lyrical content: its status as unadorned testimony, as frontline reportage (56 – 59). 3 Snoop Doggy Dogg has even gone so far as to make the claim, on Dr. Dre’s track, ‘‘Lil’ Ghetto Boy,’’ that there is pedagogy in tales of misogyny and robbery: We expose ways for the youth to survive Some think it’s wrong but we tend to think it’s right So make all them ends you can make ‘Cause when you’re broke you break. The antiauthority resistance at play in the relativizing stance of ‘‘Some think it’s wrong but we tend to think it’s right’’ is telling; it posits that the violent (fictional) culture generated in narratives like those of Snoop Doggy Dogg is de facto a movement against the dominant, while simultaneously calling the listener’s attention to a certain desperation.
Because the great distance between the scene and the camera turns the inmates into ants, this shot clearly comments on the prisoners’ reification. Furthermore, during the course of the film, Norton is repeatedly juxtaposed with dead or suffering prisoners. Norton exploits the prisoners as slave labor and allows the use of violence to support his corrupt regime. For example, Norton permits Captain Hadley (Clancy Brown) to beat the inmate ‘‘Fat Ass’’ (Frank Medrano) to death and to brutalize the rapist Bogs Diamond (Mark Rolston) so severely that he is disabled afterwards.
3 (2005): 226 – 44. Forceville, Charles. Pictorial Metaphor in Advertising. London: Routledge, 1996. Fowles, John. The French Lieutenant’s Woman. 1969. London: Vintage, 2004. Gaddis, Thomas E. Birdman of Alcatraz: The Story of Robert Stroud. 1955. San Francisco: Comstock Editions, 1989. hooks, bell. Reel to Real: Race, Sex, and Class in the Movies. New York: Routledge, 1996. I am a Fugitive from a Chain Gang. Dir. Mervyn LeRoy. , 1932. Film. The Importance of Being Earnest. Dir. Anthony Asquith.