Praxes of popular culture

No. 1 - Year 9 - 12/2018

University of Zadar | ISSN 1847-7755 | SIC.JOURNAL.CONTACT@GMAIL.COM

Editorial

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. ...

Literature and Culture
Melodie Cardin, Carleton University, Canada:

This article considers the inclusion of the real-life “slash” fandom in the canon storyline of the CW/WB show Supernatural, and the consequent exploration of the taboo idea raised by the fans: of a sexual relationship between its two central characters, who are brothers. By including references to fan fiction, Supernatural opens a space to question normative sexual identity constructs. This article draws on an argument by Michel Foucault that homosexuality is a social construct that emerged as a way to deal with the “problem of male friendship.” In the context of Foucault’s argument, Supernatural’s treatment of its “slash” fan fiction allows for polysemic interpretations of the brothers’ relationship to coexist with the platonic “canon” storyline, opening the door to ideas of sexual fluidity and the “queering” of its characters by fans.Keywords: fan fiction, sexual identity, Foucault, intimatopias, Supernatural Supernatural is an American primetime show centered on a monster-of-the-wee...

DOI: 10.15291/sic/1.9.lc.4
Literature and Culture
Petra Požgaj, University of Zagreb, Croatia:

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 perso...

DOI: 10.15291/sic/1.9.lc.6
Literature and Culture
Mirna Sindičić Sabljo, University of Zadar, Croatia:

Krajem 2017. godine u biblioteci Mansioni, u izdanju hrvatskog centra ITI objavljena je knjiga teatrologinje Višnje Kačić Rogošić pod naslovom Skupno osmišljeno kazalište. Opće značajke i hrvatski primjeri. Navedena monografija prerađena je doktorska disertacija, obranjena 2013. godine na Filozofskom fakultetu Sveučilišta u Zagrebu. Pojam skupno osmišljenog kazališta, prema autorici monografije (8), odnosi se na kazališne predstave koje ne nastaju uprizorenjem nekog postojećeg predloška (dramskog teksta, libreta, scenarija, koreografskog zapisa) već se njihov ukupni izvedbeni materijal u potpunosti proizvodi, pronalazi djelomično proizveden, razvija, organizira i povezuje zajednički, tijekom radioničke faze otkrivanja novoga, a ponekad i tijekom same izvedbe. Navedena izvedbena vrsta je, prije svega, određena odbacivanjem neupitnog autoriteta dramskog pisca, redatelja i unaprijed napisanog teksta. U svojim početcima pozicionirala se na alternativnoj i društveno-angažiranoj sceni. Odstu...

DOI: 10.15291/sic/1.9.lc.12
Literature and Culture
Frances Tuoriniemi, University of Warwick, United Kingdom:

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 Wom...

DOI: 10.15291/sic/1.9.lc.5
Literature and Culture
Diana Njegovan, independent researcher, Italy:

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...

DOI: 10.15291/sic/1.9.lc.11
Literature and Culture
Emilia Musap, University of Zadar, Croatia:

In Our Vampires, Ourselves (1995), Nina Auerbach argues that “[t]here is no such creature as ‘The Vampire,’ there are only vampires” (5). The newest addition to vampire studies, Dracula: An International Perspective (2018), aims at emphasizing the transformative nature of the all-pervading symbol by tracing its evolution from Stoker’s 19th century novel to its present-day (re)presentations. Having, once again, crept from its grave, the vampire reveals itself as the most enduring of all monsters, mutating with each generation of writers. The vampires that populate the papers of the volume illustrate the different ways in which historical and cultural contexts have reimagined Stoker’s archetype. Due to their protean nature, they have managed to escape the confines of literature and infiltrate all media.The volume comprises fifteen papers written by international scholars, along with a framing introduction by Marius-Mircea Cri?an. The volume begins with William Hughes’s discussion on the ...

DOI: 10.15291/sic/1.9.lc.9