Praxes of popular culture

Broj 1 - Godina 9 - 12/2018

Uvodnik

Years after the Frankfurt School, Roland Barthes’s work, Laura Mulvey’s film analysis, The Centre for Contemporary Cultural Studies, various essential books and readers on popular culture, countless conferences and gatherings on popular culture that have taken place all over the world, it may seem that trying to point out the importance of popular culture in yet another scholarly journal is mundane. However, certain phenomena prove that this kind of topic is a necessity: the omnipresence of comic-book adaptations – such as the recent Black Panther phenomenon that has many global and local social, cultural, political, and economic implications, not least through the money-making promotions of certain kinds of active citizenship (NGOs’ promoted voter registration in theaters) – or videogame adaptations and rampant sexism and racism in one of the most successful industries of the day, or constant claims about the connection between mental health issues and video games, as well as the ongoing on- and offline struggle to give the neglected, minor voices their representation in popular products, or the timely #MeToo movement that called out Hollywood first and then almost entire creative industries on violence, coercion, and taking advantage over women. Popular culture is an industry as well as a community; it is profitable and it is marginal; it is equally monumental and trivial. The truth behind one of the most analyzed aspects of human culture today shows that it is ever-changing, transformative, that it is one of the most productive praxes for creators and audience alike, and, in the end, that it has important social, cultural, political, and economic effects, simultaneously producing affects and emotionality. ..

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NOTE: Due to a possible editorial conflict of interest the author did not participate in the editing/publishing process of this issue of the journal.What this analysis proposes is a reevaluation of the crucial, and often neglected, issues of space/place within the Batman opus, concentrating primarily on Batman’s use of various spaces/places in order to enforce control and/or discipline. The study will initially be premised on the use of the Foucauldian discourse regarding the implementation of invisible control and therefore power, structuring its arguments around the theoretical concepts of the dispositive/apparatus as well as Bentham’s Panopticon. The paper will develop the idea of the Batcave as the actual site of control, the starting point of the Foucauldian notion of the “gaze being alert everywhere” (Discipline and Punish 195). Symbolically made visible by the prominent brightness of the Bat-signal, but nevertheless constantly hidden from the eyes of the criminals, the Batcave assures the presence of power that “should be visible and unverifiable” (Foucault, Discipline 201), and therefore exerts discipline. The paper will also address the issue of Crime Alley as a site of inversion by using the theoretical concept of heterotopian space as proposed by Foucault, as well as Gaston Bachelard’s idea of subjective/domestic spaces. Following the idea of a space recoded by tragedy, the analysis will explore the immunity of Crime Alley in relation to Batman’s disciplinary praxis and the Panoptic gaze, as well as its potential to subvert Batman’s “laboratory of power” (Foucault, Discipline 204)....

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This paper examines the impact of sacrificing queerness when adapting comics into films, which cater to wider audiences – specifically, queer elision in Ryan Coogler’s Black Panther (2018) and illusions of queerness in Patty Jenkins’ Wonder Woman (2017). The difference between elision and illusion is crucial, and so approached using different analytical modes. Black Panther’s analysis is rooted in the production process, exploring how/why queerness is erased by drawing comparisons to the explicit queerness of Ta-Nehisi Coates and Roxanne Gay’s comics. The analysis of Wonder Woman focuses on in-depth textual analysis of both Greg Rucka’s comics and Jenkins’s film to illustrate how queer illusions functions across media. Despite these films being hailed as progressive, this paper illuminates how motivations to hide queerness when moving to wider audiences are rooted in homophobia and protecting profit margins.Keywords: queer, comics, comic-book movies, superheroes, Marvel, DC, Wonder Woman, Black Panther, film adaptations, homosexuality...

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This paper is an attempt to decode the linguistic games in Edward Albee’s Who’s Afraid of Virginia Woolf (1962) using corpus linguistics. Stylistic devices will be analyzed through a reference to the dominant metaphors and the ironic tone of the playwright. The playwright invents many linguistic games which have thematic functions; they are meant to parody the American middle-class values and institutions. Fun, verbal battles, guessing games, baby talk, and word-play are used by George and Martha to ensnare their guests in their dysfunctional marriage. I will also refer to the role of deixis in translating the playwright’s lamentation over the transformation of the American motherland into the locus of “ashes.” The bitter reality, the failure of success, and sterility have encouraged the protagonists to move from reality to illusion and to invent a fantasy child who exists linguistically (and not biologically). The aim is to mislead the guests and to validate their unhappy marriage. What is specific about George and Martha is that they insult each other, they blur the boundaries between the private and the public, and they have failed to carry out the functions of a happily united family. Characters will go back to reality at the end of the play; “reality exists at the moment when language stops” (Bigsby 282). In other words, characters will face reality and acquire a realistic vision about their situation when they solve the linguistic enigma. The final goal of the paper is to create an interdisciplinary zone between linguistics and the literary text. ...

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The television series Lost uses the motif of time travel to consider the problem of human free will, following the tradition of Humean compatibilism in asserting that human beings possess free will in a deterministic universe. This paper reexamines Lost’s final mystery, the “Flash Sideways” world, presenting a revisionist view of the show’s conclusion that figures the Flash Sideways as an outcome of time travel. By considering the perspectives of observers who exist both within time and outside of it, the paper argues that the characters of Lost changed their destinies, even though the rules of time travel in Lost’s narrative assert that history cannot be changed.Keywords: Lost, time travel, Hume, free will, compatibilismMy purpose in this paper is twofold. First, I intend to argue that ABC’s Lost follows a tradition of science fiction in using time travel to consider the problem of human free will, making an original contribution to the debate by invoking a narrative structure previously unseen in time travel stories. I hope to show that Lost, a television show that became increasingly invested in questions over free will and fate as the series progressed, makes a case for free will in the tradition of Humean compatibilism, asserting that human beings possess free will even in a deterministic world....

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