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Books on the topic 'Popular spectators'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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1

Fuseli's Milton gallery: 'turning readers into spectators'. Oxford: Clarendon Press, 2006.

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2

Pohl, Frederik. Chasing science: Science as spectator sport. New York, NY: Tor, 2000.

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3

Pohl, Frederik. Chasing science: Science as spectator sport. New York: TOR/Tom Doherty Associates Book, 2003.

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4

Lewis, Jerry M. Sports fan violence in North America. Lanham, MD: Rowman & Littlefield, 2007.

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5

Sports fans, identity, and socialization exploring the fandemonium. Lanham, Md: Lexington Books, 2011.

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6

The spectator and the spectacle: Audiences in modernity and postmodernity. New York: Cambridge University Press, 2009.

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7

Rowan, Arthur Blennerhassett. " Newman's popular fallacies": Considered in six letters; reprinted, with introduction and notes, from the Spectator journal. London: British Library, 1986.

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8

Chowdhury, Arjun. Suffering Spectators of Development. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190686710.003.0007.

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This chapter offers an alternative view of the incidence and duration of insurgencies in the postcolonial world. Insurgencies and civil wars are seen as the primary symptom of state weakness, the inability of the central government to monopolize violence. Challenging extant explanations that identify poverty and low state capacity as the cause of insurgencies, the chapter shows that colonial insurgencies, also occurring in the context of poverty and state weakness, were shorter and ended in regime victories, while contemporary insurgencies are longer and states are less successful at subduing them. The reason for this is the development of exclusive identities—based on ethnicity, religion, tribe—in the colonial period. These identities serve as bases for mobilization to challenge state power and demand services from the state. Either way, such mobilization means that popular demands for services exceed the willingness to disarm and/or pay taxes, that is, to supply the state.
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9

Kibler, M. Alison. Women at Play in Popular Culture. Edited by Ellen Hartigan-O'Connor and Lisa G. Materson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190222628.013.24.

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The story of women’s participation in popular culture is more complex than the struggle to be included. Feminist activists have fought for legislation to end discrimination in leisure, sports, and popular culture. At the same time, advertisers have coopted feminism to sell a variety of products as symbols of emancipation for women, substituting purchasing power for political power. Gaining visibility in the media and as target audiences, and breaking into male spheres have not been the end of these feminist struggles; rather, women who gained opportunities in sport and leisure were often stereotyped as “mannish” or cast in reassuring feminine roles—beauty icons or heterosexual romantic heroines. It is important to trace women’s pathbreaking roles as spectators, fans, performers, and athletes as well as show how sport and popular culture are fundamentally gendered.
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10

author, Black Jason Edward, ed. Mascot nation: The controversy over Native American representations in sports. University of Illinois Press, 2018.

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11

Lewis, Jerry M. Sports Fan Violence in North America. Rowman & Littlefield Publishers, Inc., 2007.

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12

Sports Fan Violence in North America. Rowman & Littlefield Publishers, Inc., 2007.

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13

Mazer, Sharon. Professional Wrestling. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826862.001.0001.

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Professional wrestling is one of the most popular performance practices in the United States and around the world, drawing millions of spectators to live events and televised broadcasts. The displays of violence, simulated and actual, may be the obvious appeal, but that is just the beginning. Fans debate performance choices with as much energy as they argue about their favorite wrestlers. The ongoing scenarios and presentations of manly and not so-manly characters—from the flamboyantly feminine to the hypermasculine—simultaneously celebrate and critique, parody and affirm, the American dream and the masculine ideal. Sharon Mazer looks at the world of professional wrestling from a fan’s-eye-view high in the stands and from ringside in the wrestlers’ gym. She investigates how performances are constructed and sold to spectators, both on a local level and in the “big leagues” of the WWF/E. She shares a close-up view of a group of wrestlers as they work out, get their faces pushed to the mat as part of their initiation into the fraternity of the ring, and dream of stardom. In later chapters, Mazer explores professional wrestling’s carnivalesque presentation of masculinities ranging from the cute to the brute, as well as the way in which the performances of women wrestlers often enter into the realm of pornographic. Finally, she explores the question of the “real” and the “fake” as the fans themselves confront it. First published in 1998, this new edition of Professional Wrestling: Sport and Spectacle both preserves the original’s snapshot of the wrestling scene of the 1980s and 1990s and features an up-to-date perspective on the current state of play.
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14

Vogan, Travis. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0001.

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This book explores how NFL Films shaped the way Americans view football and paved the way for the emergence of cable television and Internet sports media. Baseball is traditionally recognized as America's favorite pastime, but the country's most popular and lucrative sports organization since the late 1960s has been the National Football League (NFL). NFL football's tremendous cultural and economic power is not simply a product of the games it provides for millions of live and mediated spectators, but also its cultural meanings. More than merely a game, the sport embodies and articulates characteristics, beliefs, attitudes, and values unique to American history, identity, and everyday life. This book examines the ways that NFL Films' productions changed how pro football, and sport in general, is represented and imagined while establishing a foundation from which the contemporary sports media landscape—an almost unavoidable facet of popular culture—developed. It discusses the institutional and cultural history of NFL Films as well as its circulating and archived productions, the discourses it generates, and the discourses surrounding the company.
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15

Hines, James R. Skating for an Audience. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039065.003.0008.

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This chapter discusses the evolution of show skating. Show skating is neither new nor unique. Its roots can be traced back farther than competitive skating. In Victorian England, gentlemen amateurs tell of interested observers who watched in amazement as they traced their figures, and they admit that their egos swelled with pride when spectators watched them go through their paces. That was amateur skating at its best, albeit with an element of showing off to those less skilled. Jackson Haines, however, skated professionally in the United States and Canada before moving permanently to Europe to continue his career. Thus, exhibition types of skating, from individuals showing off on local ponds to itinerant professionals were a part of the skating scene in the mid-nineteenth century. While the success of Haines' performances in Europe is legion, skating shows were popular in America as well. The importance of carnivals to the advancement of the sport cannot be overemphasized because they provided performance experience to skaters at all levels.
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16

Bhrugubanda, Uma Maheswari. Deities and Devotees. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199487356.001.0001.

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If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.
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17

Sherman, Stuart. Finding Their Accounts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0022.

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This chapter focuses on the peculiarities of the Spectator, a publication which began in 1711. The Spectator is neither autobiography nor novel; it offers, starting with its first number, a useful map through the maze of their intertwining. That the two genres were intimately enmeshed during the decades of their first emergence is a proposition at once self-evident and much canvassed. But the chapter shows how the Spectator may provide a route worth further canvassing. In the peculiar characteristics of its wildly popular authorial persona, it plays out as paradigm (and as parody too) core patterns of transaction between author and reader which had already begun to establish the narrative of ‘my own History’ (whether factual or fictive) as a newly hypnotic cultural artefact — and as a mode of writing whose powerful appeal resides in ‘separations’.
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18

Ezell, Margaret J. M. London Theatricals: Italian Opera and an Evening at the Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780191849572.003.0021.

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The London theatres in the first decade of the eighteenth century experienced changes in the types of entertainment offered and in their staging. Many of the stars of the previous decades including Thomas Betterton, Elizabeth Barry, and Anne Bracegirdle retired from the stage. New productions emphasized music and dancing; so popular was musical drama that a public competition was held to create the music for Congreve’s libretto The Judgment of Paris. Foreign singers, especially from Italy, were often paid higher salaries than English actors, leading to tensions, and while operas sung in Italian were very popular with audiences, critics such as Joseph Addison writing in the Spectator deplored the use of spectacle and music over script and moral. One of the most popular new playwrights of the decade was Susanna Centlivre.
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19

Ezell, Margaret J. M. ‘The Great Business of Poetry’: Poets, Pastoral, and Politics. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0028.

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Many poets first appeared in print in miscellanies published by John Dryden and Jacob Tonson that appeared in the 1690s and continued to be published through the first two decades of the eighteenth century, Others first appeared in periodicals such as the Spectator and the Guardian. Women poets including Mary Mollineux, Sarah Fyge, Elizabeth Singer Rowe, Mary Chudleigh, and Anne Finch published book-length collections. Among the most popular poetic forms were the Pindaric ode and the pastoral, some poets attempting to match classical models, others such as Gay making mocking use of the pastoral to comment on contemporary life. Isaac Watts published important and influential collections of hymns. Daniel Defoe published his longest satire, Jure Divino. Our view of many popular poets of this decade, however, including John Dennis, Thomas Tickell, Richard Blackmore, and Ambrose Philips, has been through the lens of Alexander Pope’s later satire on his contemporaries, The Dunciad.
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20

Hughes, Emily. Studying Talk to Her. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.001.0001.

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Talk to Her (2002) is a hugely rich and interesting, though ambiguous, film that met with both popular success and critical acclaim. The film won an Oscar for best original screenplay and has been hailed by some critics as Pedro Almodóvar's masterpiece. Yet like most of Almodóvar's films, little is clear-cut. The characters are complex and our affinity and empathy for them shifts throughout the film. This book provides an in-depth analysis of both the formal elements of the film (its narrative, genre, and auteur study) and the themes and issues it raises, discussing the social context of modern Spain and its old, traditional iconography; shifting attitudes towards gender; and, crucially, the film's uneasy, morally ambiguous depiction of rape and the spectator's reaction to it.
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21

Klugman, Matthew. “Get excited, people!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038938.003.0007.

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This chapter examines how sport fansites can be mined by sport historians as “a wonderfully rich resource.” Each week, “thousands, if not millions” of sport fans congregate online to “read, chat, and blog” about their favorite teams. Importantly, these sites exist as free-standing histories produced and consumed voraciously by contributors in collaboration with one another and subject to their own internal rules, protocols, and modes of expression and meaning. As such, engaging with this massive digital archive of fan postings and discussion can offer insight into new communities surrounding sports teams, fantasy engagement, and humor, as well as gendered, racial, and sexualized aspects of spectator sports culture. Indeed, sport fansites provide opportunities to consider questions of sporting memory and popular history.
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22

Henry, Jenkins. Textual poachers: Television fans and participatory culture. Routledge, 1992.

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23

Surdam, David George. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037139.003.0001.

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This introductory chapter describes the “bush league” characteristics of the National Basketball Association's (NBA) early days. While basketball was quite popular in the 1940s, and college basketball had shown promise as a spectator attraction, professional basketball still had an air of disrepute: barnstorming, uncouth players, and poorly lit (and often poorly ventilated) gyms or dance halls. The Basketball Association of America (BAA), the NBA's precursor, had struggled to gain credibility and popularity among the country's sports fans during this time. The BAA/NBA during its early seasons relied on exhibition games featuring the Harlem Globetrotters, on playing doubleheaders, on using territorial draft picks of stars from local colleges, on playing regular-season games out of town, and on having teams fold mid-season. Some teams continued to play league games in high school gymnasiums well into the 1950s.
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24

Purcell, Stephen. ‘It’s All a Bit of a Risk’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.30.

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This essay considers three movements in twenty-first-century Shakespearean performance in light of Philip Auslander’s influential study Liveness: Performance in a Mediatized Culture (1999): (1) the live broadcasting of theatre productions; (2) the increasingly popular genre of immersive theatre as spectator sport; and (3) the body of practice emerging from, and centring on, the reconstructed Shakespeare’s Globe Theatre in London. It considers the ways in which each of these movements constructs ‘liveness’, paying particular attention to the implications of these constructions for Shakespearean performance. The first movement is examined through the lens of the National Theatre Live broadcast of Nicholas Hytner’s Othello, whose ‘liveness’ involves an interplay of filmic and theatrical registers; the second, through a discussion of Punchdrunk’s Sleep No More; and the third, through the modern practice of finding ‘liveness’ in game-like theatre techniques and in the responsiveness of the actor at Shakespeare’s Globe.
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25

Murray, Terri. Studying Feminist Film Theory. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325802.001.0001.

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This book is aimed at helping media and film studies teachers introduce the basics of feminist film theory. No prior knowledge of feminist theory is required, the intended readers being university undergraduate teachers and students of film and media studies. Areas of emphasis include spectatorship, narrative, and ideology. Many illustrative case studies from popular cinema are used to offer students an opportunity to consider the connotations of visual and aural elements of film, narrative conflicts and oppositions, the implications of spectator 'positioning' and viewer identification, and an ideological critical approach to film. Explanations of key terminology are included, along with classroom exercises and practice questions. Each chapter begins with key definitions and explanations of the concepts to be studied, including some historical background where relevant. Case studies include film noir, Kathryn Bigelow's Strange Days and the work of directors Spike Lee, Claire Denis, and Paul Verhoeven.
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