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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Izdvojeno

The cultural treatment of wagelessness and welfare as its potential relief serves as a potent example of how popular culture has long functioned as a site at which American society articulates and negotiates its anxieties. Observing a recent departure from the figure of the “welfare queen” as the privileged site at which anxieties related to welfare are organized, and linking this change to the neoliberal transformations of welfare in the United States introduced by the 1996 reform, this paper adopts a Foucauldian approach to the issue of government in order to set the ground for an analysis of contemporary films which negotiate the conditions of wageless life in what has often been termed a post-welfare society. Looking at Beasts of the Southern Wild and The Florida Project as illustrative of a broader representational trend, this paper examines the role of popular culture in negotiating social changes by exploring the ways in which the two films negotiate dominant discourses of personal responsibility and work opportunity through the newly emergent figure of the “surplus population.”...

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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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Paralaksa Ivane Čagalj postmoderni je pjesnički opus koji je osvojio Nagradu Anđelko Novaković za 2016. godinu. Sadržajno je podijeljen u četiri cjeline: Osnovni pojmovi, Razgovarajmo o tekstu, Za one koji žele znati više te Zadatci za samostalan rad. Pjesnička je zbirka zanimljiva zbog ustroja koji oslikava nastavnu jedinicu, a njezin sadržaj zrcali određene elemente popularne kulture.Prva cjelina donosi tumačenje pojma paralaksa. Pružena je njegova definicija, ali i odraz paralakse u životu lirskog subjekta koji će očuditi godišnja doba, dijelove dana, odnos grad--selo, kontrast crno-bijele boje, dopunjen šarenilom. Bit će očuđen i doživljaj ispijanja kave, čija je toplina povezana s onom božanskom. Navedene teme sadržaji su pjesama Paralaksa I.-V.U skladu s naslovom prve cjeline, zbirka donosi pjesnički odraz važnih pojmova za razumijevanje principa paralakse. Pjesme su kako u čitavoj zbirci tako i u ovoj cjelini, popraćene tumačenjem naslova. U cjelini je predstavljena svakodnevica subjekta kroz stihove o sobi, bratu, ljudima. Pri tome je važno istaknuti komentar Dobrile Zvonarek kako biografizam nije kontekst za čitanje ove pjesničke zbirke već je tek usputna paralela (Čagalj 70), a iščitavanje te paralele bit će moguće i u preostalim cjelinama. ...

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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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