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Sjö, Sofia. « Postmodern messiahs : the changing saviours of contemporary popular culture ». Scripta Instituti Donneriani Aboensis 21 (1 janvier 2009) : 196–212. http://dx.doi.org/10.30674/scripta.67351.
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The messiah myth is alive and well in the modern world. Contemporary science fiction film has taken the myth to heart and given us an endless stream of larger than life heroes. The heroes of the present are, however, not exactly the same as the heroes of the past. A changing world demands new things of its saviours. Using a textual and narrative analysis based on insights gained from feminist film theory and cultural studies, this article looks closely at the messiah theme in science fiction films and TV series from the last three decades. The study explores the changes that have occurred in relation to images of the body, the attitudes and personalities of modern heroes, gender, questions of power and ideas of the transcendent. The article then discusses what these changes both between newer and older heroes and between contemporary heroes and the traditional messiah story might say about religion and spirituality in the modern world. Finally the article explores the question of why the messiah myth still finds an audience today.
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Monsiváis, Carlos, et Lois Parkinson Zamora. « The Neobaroque and Popular Culture ». PMLA/Publications of the Modern Language Association of America 124, no 1 (janvier 2009) : 180–88. http://dx.doi.org/10.1632/pmla.2009.124.1.180.
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Carlos Monsiváis is hard to pin down. He is a chronicler of every aspect of Mexican reality past and present; A cultural critic focusing on poetry, film, art, and music; and an erudite essayist committed to the connections between elite and popular cultures. His style is both acerbic and festive in ways that epitomize the Mexican character, and nothing escapes his incisive curiosity: the cult of national heroes that finds its twin in the society of spectacle, the cultural migrations between television talk and devotional discourse, the mass movements that advance and recede in a welter of democratic projects. As an intellectual, Carlos Monsiváis is unique in (and to) Mexico. You cannot walk in this country without seeing or hearing him on every street corner, nor can you open a book without sensing his influence. His presence is so omnímoda—so omnimodal—that we no longer know which came first: Mexican culture as Monsiváis observes it, or Monsiváis observing Mexican culture.
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Armengol, Josep M. « Book Review : Aging Heroes : Growing Old in Popular Culture ». Men and Masculinities 20, no 5 (7 novembre 2017) : 625–36. http://dx.doi.org/10.1177/1097184x17737591.
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Burns, Maureen. « Review : Girl Heroes : The New Force in Popular Culture ». Media International Australia 105, no 1 (novembre 2002) : 174–76. http://dx.doi.org/10.1177/1329878x0210500129.
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Karki, Dhruba. « The Heroic Journey in Popular Culture ». Tribhuvan University Journal 29, no 1 (31 mars 2016) : 25–40. http://dx.doi.org/10.3126/tuj.v29i1.25668.
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Popular culture integrates people in diverse settings. Individuals share ideas through materials they use, including food, dresses, movies, magazines, and holiday spots. In the past, people set for pilgrimage to holy sites; these days, they go on trekking through hills. Pilgrimages to consecrated sites have been replaced by people's journey to discotheque, fashion center and shopping complex in the modern time corporate world. What binds them together is the transformation of consciousness in line with the journey from the terrestrial to the celestial sphere. Specific human activities, including pilgrimage and business trip become popular culture when people make them significant parts of their lives. Sound and images of disco, jazz, hip-hop, and pop-rock have entered the streets and hotels equally in cities of the industrial world, from Lhasa to London, Karachi to Kathmandu, and Tokyo to New York, irrespective of their cultures and ethnic backgrounds. In today’s world of saturated media presence, images and icons of heroes and legends, motivated by commercial and popular appeal, are circulated with a greater speed, becoming simultaneously a shared mythic currency and continuity, the modern world embodiment of silk road business, and thus, crossing the East-West divide.
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Williams, Bronwyn T. « Action Heroes and Literate Sidekicks : Literacy and Identity in Popular Culture ». Journal of Adolescent & ; Adult Literacy 50, no 8 (mai 2007) : 680–85. http://dx.doi.org/10.1598/jaal.50.8.6.
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Begovich, Ray. « Heroes and Scoundrels : The Image of the Journalist in Popular Culture ». American Journalism 33, no 2 (2 avril 2016) : 231–32. http://dx.doi.org/10.1080/08821127.2016.1168152.
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Herges, Katja. « The Education of Desire : Unsettling Sexuality, Gender, and Racial Politics in Contemporary Medical Romance ». Seminar : A Journal of Germanic Studies 59, no 3 (1 septembre 2023) : 282–300. http://dx.doi.org/10.3138/seminar.59.3.4.
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Medical romance features health care heroes and heroines in a central love story. This article analyzes two contemporary literary examples of the popular but neglected genre of German medical romance, Julya Rabinowich’s Herznovelle (2011) and Irena Brežná’s Schuppenhaut: Ein Liebesroman (2010). This article argues that medical romance performs agile cultural work that ambivalently locates discourses of desire, race, and gender within popular, literary, and medical cultures. Through a range of literary and autofictional strategies, both works reveal how medical romance can reflect and produce bourgeois sexuality and whiteness in contemporary culture. Foregrounding their narrators’ appropriation of colonial imagery, I show that Herznovelle and Schuppenhaut open up critical questions about approaches to decolonization in German studies and medical culture.
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Woloschuk, Caitlin. « Masculinity in Folklore : The Enduring Symbolism of the Canadian Lumberjack ». Pathways 3, no 1 (7 novembre 2022) : 5–13. http://dx.doi.org/10.29173/pathways36.
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The nineteenth-century logging industry in North America produced working conditions that gave birth to many folk tales and folk heroes that have held firm, keeping the lumberjack a topic of popular culture that has endured for over a century. Through examining a historical painting and sketch inspired by the popular French-Canadian folktale La Chasse Galerie, present-day people can better understand the different historical influences, such as religion and ethnicity, that helped create folklore and ideas of masculinity within the timber trade in the Ottawa Valley. In addition, the masculinity that logging folk heroes and folk tales embody can help illustrate trends in modern resource extraction industries.
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Karki, Dhruba. « Blending Myth and Modernity in the Global Chinese Cinema : The Hong Kong Action Hero in Zhang Yimou-Directed Hero ». Tribhuvan University Journal 32, no 2 (31 décembre 2018) : 37–56. http://dx.doi.org/10.3126/tuj.v32i2.24702.
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Zhang Yimou’s Hero presents an action hero, yet in a slightly different cinematic mode than that of Stephen Chow-directed Shaolin Soccer to blend myth and modernity. In Yimou’s martial arts cinema, Jet Li-starred Nameless hero uses martial arts to combat the king’s adversaries, including Donnie Yen-starred Long Sky, Maggie Cheung-starred Flying Snow and Tony Leung Chiu-Wai-starred Broken Sword in the service to the Qin Dynasty (221 BC – 207 BC). The warrior hero’s indigenous body art helps the Qin Dynasty transform the smaller warring kingdoms into a powerful Chinese Empire, a strong foundation of modern China with economic and military superpower. Like their western counterparts, including T1000 and Neo, the Hong Kong action heroes, such as the warrior hero and the Qin King have been refashioned in the Hollywood controlled twentieth-century popular culture. Different from their Hollywood counterparts in actions, the Hong Kong action heroes in Hero primarily use their trained bodies and martial skills to promote the Chinese civilization, an adaptation of the Hollywood tradition of technologized machine body. Reworking of myth and archetype in Nameless’s service to the Qin Dynasty and the emperor’s mission to incept the Chinese Empire, the Hong Kong action heroes appear on screen, a blend of tradition and modernity. The film industry’s projection of the Chinese history with the legendary action heroes, including Nameless soldier and the Qin King globalizes the indigenous Chinese culture by using modern electronic digital technology, a resonance of the western technological advancement.
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Ching. « Empire's Afterlife : The “South” of Japan and “Asian” Heroes in Popular Culture ». Global South 5, no 1 (2011) : 85. http://dx.doi.org/10.2979/globalsouth.5.1.85.
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Bogg, Richard A., et Janet M. Ray. « byronic heroes in American popular culture : might they adversely affect mate choices ? » Deviant Behavior 23, no 3 (mai 2002) : 203–33. http://dx.doi.org/10.1080/016396202753561220.
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Ingalls, Victoria. « Sex Differences in the Creation of Fictional Heroes with Particular Emphasis on Female Heroes and Superheroes in Popular Culture : Insights from Evolutionary Psychology ». Review of General Psychology 16, no 2 (juin 2012) : 208–21. http://dx.doi.org/10.1037/a0027917.
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Cultural and psychological perspectives have been used to examine the characteristics of modern fictional heroes, but rarely if ever has an evolutionary approach been applied to this topic, an approach that could be quite enlightening. Evolutionary psychology suggests that sexual selection will have shaped differences in the underlying behavioral tendencies of males and females. Specifically, the higher parental investment of females makes establishing dominance more valuable to males and the helping of family members more valuable for females. If this is true, evolved differences manifesting themselves in the subconscious could influence the characteristics of the fictional heroes created by each sex. Here, I use a preliminary examination of female superheroes from the popular media to help frame an exploration of these predicted sex differences, which is followed by a more systematic approach examining heroes found in recent children's fantasy novels. If there are evolved differences, the female heroes created by men are expected to be more physically powerful and exhibit more displays of physical power than those created by women. In addition, the primary goal of the two types should also differ, with female-generated heroes displaying more concern for family members. Analyzing these characters using evolutionary psychology is compared to previous approaches. If the evolutionary approach proves to be valid, this new method of hero comparisons should be of interest to those studying gender issues and role models for girls.
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Bhatia, Tej K. « Super-heroes to super languages : American popular culture through South Asian language comics ». World Englishes 25, no 2 (mai 2006) : 279–98. http://dx.doi.org/10.1111/j.0083-2919.2006.00465.x.
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Miković, Lazar. « FRANZ KAFKA IN SIGHT OF POPCULTURE ». Folia linguistica et litteraria XIII, no 45 (septembre 2023) : 369–79. http://dx.doi.org/10.31902/fll.45.2023.21.
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The paper deals with the research of elements of popular culture in Franz Kafka's oeuvre from the aspect of the relationship between society and popular culture in the 20th century. The research leads to several examples in which, while building popular culture, the heroes of Kafka's works try to solve their own emotional, family, religious and social problems. In this regard, this paper demonstrates how popular culture in Kafka's works manifests itself through the interaction of the broad masses of people with government structures, up to his personal relationship with his father, which grows into rebellion. In this way, this work points to a theme that runs through almost all of Kafka's works, which is the problem of modern man. Relying on the theory of John Fiske, this paper aims to present the importance of the elements of popular culture in the broader plan of the analyzed segments, that is, on the level of their modernist character. Since in the era of simulation and representation, any kind of authentic and original culture is virtually impossible, this paper tries to point out Kafka's unique way of resisting the imposed way of life and a view of the world through literature.
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Wang, Zhiqi. « Popular Anti-heroes : Origin, Changes, and Influences ». Communications in Humanities Research 3, no 1 (17 mai 2023) : 1005–10. http://dx.doi.org/10.54254/2753-7064/3/2022796.
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This paper examines the role of anti-hero works in recent years' film history and their influences on audiences. By incorporating evidence from academic articles in film reviewing and narrative analysis, this paper explores how film producers create novelty anti-hero images to satisfy audiences. This study demonstrates the change in the tastes of audiences by comparing the anti-hero film and television works and classic heroic ones. During the transition process, the differences and similarities between these two kinds of characters also demonstrate the consistent and changed representative ideas in reality. The background of these audiences from different cultures and languages is also considered as the variable factors of their aesthetic view and absorbed information since cultural differences and language barriers could twist the meaning during the information transmission.Through the analysis of relative academic articles, this study found the existence of different social factors, various propositions, and ideologies that cause these anti-hero images' creation and lead to the impact on audiences and their psychological changes. These varied impacts assert both negative and positive influences on them. Negative influence contains the pursuit and imitation of violent scenes and further change into morally- ambiguous ways of thinking, while positive influence includes stress relieving function and reflection of themselves or others.
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Medakin, Sergey S. « REPRESENTATION OF WORLD WAR II IMAGES IN POPULAR MUSIC. ALBUM “HEROES” OF HEAVY POWER METAL BAND “SABATON” ». RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no 6 (2022) : 287–97. http://dx.doi.org/10.28995/2686-7249-2022-6-287-297.
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The article identifies and analyzes the formation of images of the past in popular music on the example of the tracks from the album “Heroes” by the band “Sabaton”. The work studies the representations of the war images in popular music in the context of the original works of the musical group “Sabaton”, interviews of musicians, reviews of fans and critics, as well as videos of the popular science YouTube channel of the group. The author develops studies of representations of the military history images in the context of culture and the arts, using popular music, which is unpopular in research, but a large-scale and ubiquitous phenomenon. Through the involvement of audiovisual sources (video clips and performances at concerts), as well as interviews and video materials of the popular science channel, the author reveals an issue of narrativization and glorification of the historical past and its participants, the creation of completely new images and plots by the Swedish group in the context of representations of the past. The involvement and analysis of the works from the popular science channel “Sabaton History” allows to identify the background for the creation of songs by the Swedish band, to find out the opinions of musicians and a professional historian responsible for maintaining the channel. The example considered in the article demonstrates how popular music works with images of the past, and how the techniques of representation may vary depending on different cultural and linguistic contexts.
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Jordan, Gerald, et Nicholas Rogers. « Admirals as Heroes : Patriotism and Liberty in Hanoverian England ». Journal of British Studies 28, no 3 (juillet 1989) : 201–24. http://dx.doi.org/10.1086/385935.
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In recent years historians have significantly broadened the parameters of popular politics in the eighteenth century to include the ceremonial and associational aspects of political life, what might be aptly described as popular political culture. Whereas the subject of popular politics was conventionally confined to the programmatic campaigns of post-1760 radicals and to the crucial but episodic phenomenon of popular disturbance, historians have become increasingly attentive to the anniversaries, thanksgivings, processions, and parades—to the realm of symbolism and ritual—that were very much a part of Georgian society. This cultural perspective has radically revised our notion of the “popular,” which can no longer be consigned unproblematically to the actions and aspirations of the subaltern classes but to the complex interplay of all groups that had a stake in the extraparliamentary terrain. It has also broadened our notion of the “political” beyond the confines of Parliament, the hustings, and even the press to include the theater of the street and the marketplace with their balladry, pageantry, and iconography, both ribald and solemn.Within this context, the theme of the admiral-as-hero in Georgian society will be explored by focusing on Admiral Edward Vernon, the most popular admiral of the mid-eighteenth century, and Horatio Nelson, whose feats and flamboyance are better known. Of particular interest is the way in which their popularity was ideologically constructed and exploited at home. This might seem an unorthodox position to take. Naval biographers have assumed that the popularity of admirals flowed naturally and spontaneously from their spectacular victories and exemplary feats of valor. This may be taken as a truism. But it does not entirely explain their appeal.
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Kępiński, Marcin. « American war movies. David Ayer’s Fury as mythologisation of war and soldiers ». Acta Universitatis Lodziensis. Folia Sociologica, no 73 (30 juin 2020) : 21–36. http://dx.doi.org/10.18778/0208-600x.73.02.
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Both pop culture and modern Hollywood cinema are mainly intended for entertainment. American war films are not free from this vice. A researcher of culture should shun attempts to find hidden symbols, myths and flashes of meanings from distant traditional culture in such films. Contemporary popular mythologies do not represent the same mythical pattern that Eliade wrote about. Popular culture consists of ideas on various topics, borrowings, quotations and fragments of meanings, all patched together. In my view, however, Fury goes beyond pop culture and entertainment. After all, there is also good American war cinema and films that are not mindless borrowings or calques of carelessly patchworked pieces of pop culture. One can look at them and find certain cultural tropes and motifs known to specialists in humanities, such as an initiation journey, the symbolic language of eternal myths or archetypal figures of cultural heroes, all in a version transformed by popular culture, of course. The aim of my article is therefore to analyse David Ayer’s film from the perspective of a culture researcher who seeks cultural tropes and sources of the war hero myth in this cinematic work.
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Pilkevych, Andrii. « «Multigenre Convention» Through a Prism of US Popular Culture ». Ethnic History of European Nations, no 67 (2022) : 136–41. http://dx.doi.org/10.17721/2518-1270.2022.67.18.
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The article gives a brief description of the most famous festivals and conventions of popular culture in the United States, which include Comic-Con International: San Diego, New York Comic Con, Wizard World Chicago Comic Con, AggieCon, Alamo City Comic Con, All-Con, ApolloCon, Archon, Big Apple Comic Con, Blerdcon, CarnageCon, Chattacon, Chicago Comic & Entertainment Expo, ClexaCon, CoastCon, ConCoction, ConGlomeration, ConnectiCon, CONvergence, Dragon Con, Emerald City Comic Con, Fan Expo Boston, Fan Expo Dallas, FanX, Florida Supercon, Genericon, Heroes Convention, LA Comic Con, MidSouthCon, MOBICON, MomoCon, Motor City Comic Con, Pacific Media Expo, Pensacon, Phoenix Fan Fusion, Sci-Fi Valley Con, Silicon Valley Comic Con, WonderCon, Zenkaikon. The most common thematic areas that fill the main structure of convention programs, in particular presentation of rare and latest examples of the comic’s industry, popularization of the idea of the value of collecting, providing space for novice artists to disseminate their work in the alley of artists. At the same time, with the growing dominance of the video game industry, board and card games, as well as themed collectible toys, remain widely popular. Most festivals feature cosplay competitions that reward the winners, autograph zones with invited celebrities, large-scale panels for exhibitions, where in addition to purely visual pleasure you can join workshops, thematic lectures and seminars. Events include Film Festival, cosplay and costume contests, dances, also the option of game playing. Programs include opportunities to preview the latest film industry news, anime, video game testing and sketches of leading artists from companies specializing in comic book content, exhibition panels with authentic material from the set of popular film franchises and interactions.
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Kępiński, Marcin. « Bigger, Stronger, Faster, czyli amerykański sen nie jest dla każdego, a sport to jedno wielkie oszustwo ». Kultura i Społeczeństwo 61, no 2 (24 avril 2017) : 103–24. http://dx.doi.org/10.35757/kis.2017.61.2.6.
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The author analyses the 2009 documentary film Bigger, Stronger, Faster, which investigates the nature of American pop culture and sports. Writing from the perspective of cultural anthropology and sociology, he considers how ideas about the body and physicality are programmed by popular media culture and famous sports figures and celebrities, who are treated as models of masculinity and mass media heroes. He also raises the issue of the influence of illegal pharmaceutical doping on contemporary American sports. All these subjects serve to describe the form and functioning of America’s contemporary collective identity and the connection between the authorities, television, sports entertainment, and politics. The United States described in the documentary is a real and existing utopia, which Americans and other people have dreamt and still dream about, and which everyone believes in—not only the recipients of popular media culture and sports entertainment.
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Reilly, Susan Smith. « Revisiting the Scenario of Representation of Politics ». Media International Australia 156, no 1 (août 2015) : 60–68. http://dx.doi.org/10.1177/1329878x1515600108.
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In the first democratic election after 25 years of military rule, Brazilians elected a young unknown politician who was impeached for corruption before his first term of office was over. Based on Stuart Hall's concept of scenarios of representation in media that play a constitutive role in social life, Venicio de Lima, a professor of political science and communication at the University of Brasilia, proposed that Collor's campaign was built around the dramatic narratives in popular telenovelas in which young heroes successfully challenged authority. Lima contends that scenarios of representation of politics are effective in media-centric consumer cultures that rely on advertising for both products and politics. In this article, New York Times journalist Frank Rich demonstrates that the themes of popular drama can provide counter-hegemonic readings of political events, called for by Lima as part of the democratic process. Rich, a former theatre critic, used his knowledge of popular culture to critique the US war in Iraq.
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Allan, Jonathan A. « ‘Impossibly erotic things’ : On men’s underwear in Brief Encounters by Suzanne Forster ». Critical Studies in Men???s Fashion 9, no 2 (1 août 2022) : 207–22. http://dx.doi.org/10.1386/csmf_00060_1.
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Romance novels are known for their sexy heroes who grace the covers and pages. This article concerns itself with how heroes are dressed; in particular, I consider the role of men’s underwear in Brief Encounters by Suzanne Forster. Brief Encounters is a Harlequin Romance novel and, more specifically, a Harlequin Blaze. By way of close textual engagement, I show that men’s underwear plays a significant role in the narrative, especially with respect to the construction and representation of sexuality and masculinity. To these ends, I argue that Brief Encounters imagines men’s underwear as being more than functional, but as desirable and erotic. This article thus contributes to scholarship at the intersection of popular culture studies and critical studies of men’s fashion.
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Sorice, Adam. « Children’s Crusade ». Groundings Undergraduate 7 (1 avril 2014) : 109–24. http://dx.doi.org/10.36399/groundingsug.7.221.
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While Marvel's most iconic superheroes have played a prominent role within popular culture since their conception, little critical attention has been paid to the derivative characters that ground and populate their respective narratives. This article explores identity formation in the comic book text through Young Avengers, a 2000s series following the adventures of adolescent heroes who view established 'legacy' characters such as Captain America and Scarlet Witch as both role models and parental figures. This article, among the first academic analyses published on Young Avengers, argues that 'legacy' heroes represent both cultural figures for offshoot characters to emulate as well as cultural structures to rebel against, positioning the Young Avengers as the product of both their cultural upbringings and their own personal identities.
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Pratiwi, Ayu Dian. « MYTH OF VIOLENCE IN VENOM : LET THERE BE CARNAGE (2021) SEMIOTIC ANALYSIS ». Rubikon : Journal of Transnational American Studies 10, no 2 (30 octobre 2023) : 220. http://dx.doi.org/10.22146/rubikon.v10i2.84002.
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Popular culture is a product created for many people. The audience’s tastes are essential in production. Besides that, popular culture can also describe a culture that exists in society. One popular product that people like is film. Along with the times, the world of cinema also has more exciting story plots and various characters. One is an American film called Venom: Let There Be Carnage. The film shows signs of the violent formula usually used in American cinema. Therefore, this journal discusses Venom, who is an anti-hero who uses much violence to deliver his existence but has a heroic soul, and also Eddie Brock, an ordinary human who acts as a host who has contradictory traits with Venom even though they live in one body—coupled with conflicts with other villains characters such as Carnage and Cletus Kasady. Researchers present signs of violence using dialogues and movie posters as data references. Also, the characteristics of the heroes used using semiotic analysis supported by John Cawelty’s Myth of Violence theory. With this method, the researcher also describes the culture of violence in American society.
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Fedtke, Jana, Mohammed Ibahrine et Yuting Wang. « Heroes in Harm’s Way ». Asian Studies 10, no 1 (19 janvier 2022) : 287–314. http://dx.doi.org/10.4312/as.2022.10.1.287-314.
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This paper examines COVID-19 narratives of China as a form of soft power. The coronavirus pandemic and its handling have presented an image problem for China on the global stage. The country has struggled to control the narratives surrounding the pandemic. This article is interdisciplinary in nature with a focus on contemporary Chinese history, culture, and politics, as well as communication issues and narratives. It analyses non-fictional and fictional narratives as part of China’s COVID-19 diplomacy. Beyond documentaries, this paper examines the two docudramas Heroes in Harm’s Way 最美逆行者 (2020) and With You 在一起 (2020) and how these popular TV shows present the coronavirus crisis in China at the beginning of the pandemic. We argue that they provide positive narratives of the COVID-19 response that highlight people’s courage and sacrifice to inspire the Chinese population to stand together as a nation. The docudramas showcase everyday life during the lockdown in Wuhan over 76 days from the end of January 2020 to early April 2020. Nurses, doctors, and patients are represented as heroic characters who fight the pandemic together. Heroes in Harm’s Way and With You are testament of a united China broadcast both to domestic audiences and viewers abroad. The docudramas function as damage control to enhance China’s image in the world. This helps increase China’s soft power as the country presents itself as a capable force for good within its boundaries and beyond.
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Quinault, Roland. « The Cult of the Centenary, c.1784–1914 ». Historical Research 71, no 176 (1 octobre 1998) : 303–23. http://dx.doi.org/10.1111/1468-2281.00066.
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Abstract Despite recent interest in collective memory, the modern ‘cult of the centenary’ has been neglected by historians. Centennial commemorations of important events or famous people were rare before 1850, but thereafter they increased rapidly in number and scale, both in Britain and throughout the Western world. Centenary commemorations initially grew out of neo‐classical culture, but thereafter, their character evolved in response to new political economic and social developments. Centenary celebrations were a barometer of contemporary esteem and reflected popular and elite attitudes to both the past and the present. Centennialized heroes were variously regarded as secular saints, national icons and local tourist attractions. Some commemorations had a lasting influence and the practice still remains popular today.
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Bhattacharya, Spandan. « The action heroes of Bengali cinema : industrial, technological and aestheticdeterminants of popular film culture, 1980s–1990s ». South Asian History and Culture 8, no 2 (30 mars 2017) : 205–30. http://dx.doi.org/10.1080/19472498.2017.1304093.
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Pilkevych, Andrii. « US popular culture in the mirror of video game industry conventions ». Ethnic History of European Nations, no 64 (2021) : 97–101. http://dx.doi.org/10.17721/2518-1270.2021.64.13.
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Video game culture is one of the most dynamically developed forms of modern popular culture. Over the past 10 years, the number of communities that represent certain areas has grown rapidly. Being in direct connection with film industry, literature and music the video game culture has occupied a new segment that requires detailed research. New opportunities of online communication have transformed the traditional understanding of gaming culture. Social segment identifies as gamers. This kind of culture can be used to spread a social message using human interactions. It should be noted that in a comprehensive sense, this problem covers the interaction with computer and algorithm art, artmedia, demoscene, cybernetic and digital art, evolutionary and generative art, new media, systems art and other areas which are represented in PC, VR, Console, Handheld, Tabletop. Communities of gamers, as well as game developers have created and promoting quite recognizable festivals and conventions which are described in this article. Games and game-related merchandise by Sony Interactive Entertainment – PlayStation Experience; BlizzCon by Blizzard Entertainment with their major franchises: Overwatch, Warcraft, StarCraft, Heroes of the Storm et al; general video gaming and video game streaming – TwitchCon convention; RTX conventions by Rooster Teeth; Penny Arcade Expo as gaming culture festivals with their PAX Arena, LAN Party, eSports tournament and Omegathon. This article does not describe the US comic con conventions that carry much more content than the focus on video games, such as San Diego Comic-Con International, New York Comic Con et al. Gamers have developed specific communication languages and rituals, they spread their culture on gaming conventions and discussion websites that create a distinct virtual space. An important part of video game culture is the activity of gamers on YouTube, gaming channels are very popular, this is confirmed by millions of subscribers. Post-dynamic structure of changes was formed in all streams of public life during the growth of the pandemic. COVID-19 is accelerating existing trends and indicate future transformations in the video game industry.
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Ciemniewski, Marcin. « Indian spooks : What Indian Comic Books Readers Are Afraid of ». Politeja 16, no 2(59) (31 décembre 2019) : 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.
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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Plassard, Didier. « Puppetry to cement European cultural identity ». Open Access Government 42, no 1 (8 avril 2024) : 220–21. http://dx.doi.org/10.56367/oag-042-11283.
Texte intégralRésumé :
Puppetry to cement European cultural identity Tracing Western European repertoires of puppet and marionette theatres brings to light the international circulation of heroes, techniques, and stories. It demonstrates how this popular type of entertainment contributes to the dissemination of shared cultural references. Debates on European cultural identity diverge into two opposing directions. The first debate, political and philosophical, sees cultural identity as a set of values “that give human beings their reasons for living and doing” (European Culture: Identity and Diversity, Council of Europe, 2005).
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Svalastog, Anna Lydia, et Joachim Allgaier. « Hollywood heroes in high tech risk societies : modern fairy tales and emerging technologies ». Journal of Science Communication 15, no 02 (17 mars 2016) : C05. http://dx.doi.org/10.22323/2.15020305.
Texte intégralRésumé :
Science, research and emerging technologies often play a key role in many modern action movies. In this contribution we suggest to use genre analysis of folk narratives as an innovative and useful tool for understanding science and technology in action movies. In this contribution we outline our approach using illustrative examples and detail how understanding action movies as modern fairy tales can benefit the study of science, research and technology in popular culture.
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Antipova, Yuliya V. « The Phenomenon of Freakishness in Russian Popular Music : Concerning the Study of the Problem ». Problemy muzykal'noi nauki / Music Scholarship, no 3 (2023) : 150–59. http://dx.doi.org/10.56620/2782-3598.2023.3.150-159.
Texte intégralRésumé :
The article is devoted to the phenomenon of freakishness in popular music in Russia — as a rule, a conscious modeling of eccentric behavior in popular music on the part of various types of performers (starting from the late 1980s). The interest towards freaks in popular music is stipulated by the artistic manifestation of a number of colorful and provocative characters, the perception of whom is conducive towards the cognition of profound processes taking place in Russian culture (as a part of world culture). A positive perception of freakishness proves the total legalization and emancipation of what was previously perceived as unhealthy, eccentric, or ugly, which is presently taking place not only in Russia, but also in other countries. At the same time, freakishness in popular music may serve as a solution of the important social aims of the loosening-up of personality, the departure from the conditions of supra-civilization, supra-glossiness, as well as the pressure of social morality and social standards. The highlight of the movement of freaks in Russian popular music in the 1990s became a sign of the post-perestroika era and the values of the disorientation of Russian society. The emergence of abnormal, marginal phenomena, the violation of previous prohibitions, the wish to feel the edge, the limit manifested itself in the work of pseudo-freakish characters (Zhanna Aguzarova, Vitas, Shura). The demand of originality, the popularity of the new heroes — the representatives of creative industries, has provoked the generation of yet more unusual images and manners of performance. Total freakishness, the promotion of abnormality, non-standard behavior and even pathologies, the aspiration towards provocative behavior and the search for continuously new forms of artistic “shocking” of broad auditorium testifies of the transformation of many aesthetic norms, of the fatigue, the loss of faith in culture and progress, of the yearning for further searches for the “boundaries” of the normal. The author observes in conclusion that the intensifying or abating presence of freakish heroes, the expansion or, on the other hand, the narrowing of the zone of their influence and involvement into the cultural space of contemporaneity bears witness of processes the comprehension of which makes it possible to catch hold of certain tendencies in the social, spiritual life of society, which, obviously, merits further research.
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Seo, Jinseok. « The haunted culture—Shamanic heroes in the cultural content industry of South Korea ». Acta Orientalia Vilnensia 12, no 1 (1 janvier 2011) : 79–104. http://dx.doi.org/10.15388/aov.2011.0.1098.
Texte intégralRésumé :
Vytautas Magnus UniversityKorea, with insufficient natural resources and a limited consumer market, began to take notice of the cultural content industry in the 21st century. This means that the cultivation of this industry has not taken place for a long time compared to Japan, the USA or Hong Kong. Yet Korea has obtained an astonishing outcome in a short time. The popular culture of South Korea, with the appellation of hallyu, boasted of an enormous strength initially in the Asian market and subsequently stretched to markets in other countries, too. Seeing that Korean cultural archetypes do not play a successful role in the cultural content business of Korea in general, the position of shamanism is truly trivial among the others. I would like to analyse and discuss the meaning, function and potential of Korean shamanism in the field of the Korean cultural content industry.
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Kimura, Tets, et Shih-Ying Lin. « Friend and foe : Wei Te-Sheng on Taiwanese emotions towards Japanese colonization and the Japanese perspectives of Ryotaro Shiba and Yoshinori Kobayashi ». East Asian Journal of Popular Culture 7, no 2 (1 octobre 2021) : 169–88. http://dx.doi.org/10.1386/eapc_00047_1.
Texte intégralRésumé :
In Warriors of the Rainbow, Wei Te-Sheng sharply distinguished between heroes and villains in the 1930 Musha incident – the Taiwanese heroes fight against the Japanese villains. This contrasts with Kano, where Wei presents the romantic Orient of Japanese colonization through baseball games. Although his films are not always historically accurate in details, they realistically represent Taiwanese collective emotions towards Japanese colonization. Preferencing Japanese colonization over Chinese administration is not unusual in today’s Taiwan and thus not original to Wei. Taiwan’s Japanese colonial past was previously acknowledged by two well-known Japanese writers, Ryotaro Shiba and Yoshinori Kobayashi, in the late twentieth century when Taiwan newly asserted its freedom of expression. This article will analyse the role played by Japan in establishing the creation and projection of a unique Taiwanese identity in the field of popular culture by employing a ‘point of view’ framework from narratology.
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Prokhorova, Elena. « Can the Meeting Place Be Changed ? Crime and Identity Discourse in Russian Television Series of the 1990s ». Slavic Review 62, no 3 (2003) : 512–24. http://dx.doi.org/10.2307/3185804.
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Since the mid-1990s, crime drama has been the leading genre of post-Soviet television. In this article, Elena Prokhorova discusses various genres of recent crime series, both within the historical context and as coherent discourse (specifically, identity discourse). Her analysis draws narrative and ideological parallels between recent Russian productions and Brezhnev-era television mini-series, especially as an attempt to reconceptualize national mythology. The flourishing of popularized “narratives of control”—spy thrillers and police series—in the 1970s signaled both the crisis of Soviet identity and an attempt to give a boost to the waning ideology by mixing popular culture formulas with ideology. Likewise, recent Russian crime dramas use Soviet and prerevolutionary popular culture formulae as a testing ground for new social models. Prokhorova explores the attributes of crime series as artistic texts, such as genre conventions, choice of plots and heroes, visual representation, as well as broader cultural values that underlie those choices.
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Gipson, Grace D. « Now It’s My Time ! Black Girls Finding Space and Place in Comic Books ». Arts 12, no 2 (28 mars 2023) : 66. http://dx.doi.org/10.3390/arts12020066.
Texte intégralRésumé :
This essay examines how Black girl narratives are finding and making space and place in the arena of comic books and television. With the rise in Black girl (super)hero protagonists on the comic book pages and adapted television shows, it is essential to explore the significance of their rising inclusion, visibility, and popularity and understand how they contribute to the discourse surrounding the next generation of heroes. Guided by an Afrofuturist, Black feminist, and intersectional framework, I discuss the progressive possibilities of popular media culture in depicting Black girlhood and adolescence. In Marvel Comics’ “RiRi Williams/Ironheart”, DC Comics’ “Naomi McDuffie”, and Boom! Studios’ “Eve”, these possibilities are evident. Blending aspects of adventure, fantasy, sci-fi, and STEM, each character offers fictional insight into the lived experiences of Black girl youth from historical, aesthetic, and expressive perspectives. Moreover, as talented and adventurous characters, their storylines, whether on the comic book pages or the television screen, reveal a necessary change to the landscape of popular media culture.
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Wang, Y. Yvon. « Heroes, Hooligans, and Knights-Errant : Masculinities and Popular Media in the Early People’s Republic of China ». Nan Nü 19, no 2 (29 janvier 2017) : 316–56. http://dx.doi.org/10.1163/15685268-00192p04.
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This article is an exploration of media and gender in urban and peri-urban China during the 1950s and early 1960s – specifically, the persistent trope of the “hooligan,” or liumang. Since at least the late imperial period, Chinese authorities had feared unmarried, impoverished, rootless men as the main source of crime, disorder, and outright rebellion. Yet such figures were simultaneously celebrated as knights-errant for their violent heroism in cultural works of enormous popularity across regions and classes. As the ruling Chinese Communist Party attempted to reshape society and culture after 1949, it condemned knight-errant tales and made hooliganism a crime. At the same time, the state tried to promote a new pantheon of vigilante-like men in the guise of revolutionary heroes. But the state’s control over deeply rooted cultural markets and their products was incomplete. Moreover, the same potent tools that had empowered the Party, in particular its rhetoric of revolutionary subjectivity and its harnessing of modern media technologies, were open as never before to being adopted by the very targets of its efforts at control and censure. Marginal masculinity in the early PRC, though in many ways continuous with that in China during the previous decades and centuries, marked a new epoch: men and boys deemed hooligans were able to speak out and defend themselves as heroes.
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Kyrchanoff, Maksym W. « Morphology of Pornography : Magical and Fairy-Tale Roots of Modern Porn Discourse ». Corpus Mundi 5, no 1 (10 juillet 2024) : 46–70. http://dx.doi.org/10.46539/cmj.v5i1.92.
Texte intégralRésumé :
In this article, the author analyzes visual discourses of physicality in modern porn discourse through the prism of structuralist theory proposed by Russian researcher Vladimir Propp. The article is one of the first attempts in modern historiography to transplant the methods and principles proposed by Vladimir Propp to analyze the current state of porn in popular culture. The purpose of the article is to analyze the relationships and interdependencies between modern porn culture, presented in visual forms, and its historical predecessors. It is assumed that the origins of pornographic discourse, which operates in visual forms, can be localized in folk traditional culture. Forms and dimensions of physicality and actions of the heroes of modern pornographic discourse are perceived as structural elements of mass culture. The results of the study can be summarized in the following way: 1) the visual structure of modern porn has lost its uniqueness and originality in the consumer society; 2) the plots and sequence of actions of the heroes of modern pornographic discourse can be compared with similar plots and behavioral strategies of folk discourse; 3) porn in modern society plays roles that are similar to ones played by fairy tales in the traditional culture of pre-modern societies. The author believes that modern porn discourse imitates reality, although initially the behavior of the characters and the plots are fantastic and unrealistic in their nature. It is shown that the development of porn became a reaction to the demand of consumer society for visualized narrative constructions based on the archetypes of traditional folk culture.
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Meihuizen, Nicholas. « Contemporization and Characterization in Christopher Logue's Homer ». Translation and Literature 28, no 2-3 (novembre 2019) : 217–47. http://dx.doi.org/10.3366/tal.2019.0386.
Texte intégralRésumé :
In comparing extracts from Christopher Logue's War Music with other modern English versions of the Iliad, this article considers his use of contemporary details including elements from popular culture and present-day technology, and contemporary techniques such as cinematic slow motion. The comparisons reveal a poetry in which Homer is reinscribed into modern consciousness: larger-than-life goddesses and heroes become possible, and practices such as animal sacrifice are made meaningful. Even in his creative manipulations, Logue's characters are consistent, and the narrative coherent. Close attention is paid to the effects of metre, allusion, textual play, expansions, condensations, and omissions.
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Cardoso, Marília Rothier. « Macunaíma e outros heróis, ontem e hoje ». Revista Brasileira de Literatura Comparada 25, no 50 (septembre 2023) : 12–26. http://dx.doi.org/10.1590/2596-304x20232550mrc.
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Resumo O resgate recente, por parte de Eneida Maria de Souza, das viagens de pesquisa de Mário de Andrade no contexto do modernismo permite o contraponto crítico com a divulgação atual da arte de integrantes de espaços periféricos: indígenas e afrodescendentes. A avaliação das ideias de Mário e de sua produção literária, divulgada como mediadora entre a riqueza da cultura popular e a vanguarda erudita, contribui para a recepção adequada dos textos, imagens e performances dos novos participantes da cena artística brasileira.
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Zadruska, Adriana. « Superbohater jako produkt postmodernizmu w koncepcji Umberto Eco – kilka uwag do dyskusji ». Łódzkie Studia Teologiczne 31, no 3 (11 octobre 2022) : 163–93. http://dx.doi.org/10.52097/lst.2022.3.163-193.
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The aim of this BA thesis was to present the influence of postmodernism on the image of superheroes in mass culture. It presents the most important features of postmodernism, as well as the most popular characters from the world of comics of that period. Their influence on the mentality of the recipient of the 20th and 21st centuries was also discussed. The subject of simulacra creating the world of heroes, important for the context, was also discussed. The diploma thesis is based mainly on the work of the Italian writer Umberto Eco, considered one of the most important authors on the subject of postmodernism.
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Pushkareva, Tatiana Vitaljevna, Ekaterina Yuryevna Ivanova et Elena Mihajlovna Shemyakina. « The phenomenon of cosplay : cultural prototypes and trends ». Человек и культура, no 3 (mars 2021) : 1–17. http://dx.doi.org/10.25136/2409-8744.2021.3.34966.
Texte intégralRésumé :
The subject of this research is cosplay as a modern large-scale practice of copying and public demonstration of the costume, image and behavior of famous heroes of popular culture: movies, animated movies, comic strips, and video games within the framework of thematic festivals, processions, and clubs. This article provides scientific grounds for comprehensive analysis of the phenomenon of cosplay as a modern cultural form and practice through determining its cultural and historical prototypes, as well as artistic and social development. The empirical material contains the interviews with the Russian cosplayers, observations, publications in field-specific mass media, and digital broadcasting of cosplay events. The novelty of this work consists in revealing the cultural-historical prototypes of cosplay – totemic primitive festivities, medieval carnival, first forms of theater, as well as in outlining the artistic and social trends of cosplay, among which are the development of the language of modern visual culture and improvement of popular culture through creative materialization of the characters of screen culture. The author describes the socio-psychological mechanisms, which underlie the practice of cosplay and are close to the genetic foundations of the existence of theater: imitation and identification. The article carries out the typology of cosplay genres; determines the universal features and the specifics of the national forms of cosplay.
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Alvestad, Karl Christian. « Middelalders helter og Norsk nasjonalisme før andre verdenskrig ». Slagmark - Tidsskrift for idéhistorie, no 79 (25 juin 2019) : 77–95. http://dx.doi.org/10.7146/slagmark.vi79.130730.
Texte intégralRésumé :
A prominent feature of Norwegian nationalism in the second half of the nineteenth century and in the first half of the twentieth century was its use of Norway’s Viking and medieval history. This use is visible in Norwegian popular and political culture of the period with, among other things, the Norwegianization of city names and the emergence of the Dragon style. This article examines the role of commemoration of Viking heroes in Norwegian street names and memory sites in the period 1850-1940. In doing so, the article identifies who were remembered, when and where, and shows how there was an increase in Viking and medieval street names in the lead-up to 1900. The article also shows how the Norwegian population embraced and partook in the remembrance of these heroes through the case studies of the restoration of Trondheim Cathedral for 1930 and the construction of Haraldshaugen monument in 1872. By comparing these case studies with the spread of street names referencing the medieval, this article shows how there is a correlation between the increase in street names and the popular contributions to the construction of national memorials which suggests an increased participation in the national community. This shows the link between the spread of nationalism and medievalism in Norway in the period leading up to the Second World War opening the way to examine Norwegian medievalism as a component of the popularisation of the idea of an independent Norway.
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LAPIN, ANDREY V., et ELENA D. AGANINA. « NEW HEROES OF MASS CULTURE (CASE STUDY OF THE MAIN CHARACTER OF THE COMPUTER GAME CYCLE “GOD OF WAR”) ». Study of Religion, no 3 (2020) : 106–11. http://dx.doi.org/10.22250/2072-8662.2020.3.106-111.
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The concept of “mass culture” and its content are becoming the subject of reflection of philosophers, religious scholars, culturologists and sociologists. Taking into account the fact that mass culture is a specific type of spiritual production, one of its main features is the possibility of widespread replication of the product. Popular culture is extremely dynamic, influencing the basic feelings of the consumer, it can generate new cultural constants that change the norms and values that have developed over centuries. The constituent elements of mass culture are usually called the media, cinema, music, literature, visual arts, sports. However, recently, a computer game has become one of the basic elements of mass culture. It was computer games that brought specific images and unexpected, sometimes paradoxical, options for rethinking the previous cultural heritage into modern mass culture. In this article, the authors, using the example of a religious and philosophical analysis of the image of the main protagonist of the series of games “God of War”, will show that behind the seeming straightforwardness and simplicity of the Spartan Kratos, there is a detailed study of his personality and history of his life. Philosophical and religious content is in many ways a decisive factor that ensured the immense popularity of Kratos in the modern gaming culture with millions of users around the world.
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Schwartz, David Asa. « Book Review : Matthew C Ehrlich and Joe Saltzman Heroes and scoundrels : The image of the journalist in popular culture ». Journalism 17, no 7 (7 juillet 2016) : 935–37. http://dx.doi.org/10.1177/1464884916635812.
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Erenberg, Lewis A. « News from the Great Wide World : Duke Ellington, Count Basie, and Black Popular Music, 1927–1943 ». Prospects 18 (octobre 1993) : 483–506. http://dx.doi.org/10.1017/s0361233300004981.
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In numerous essays Ralph Ellison highlighted the special role that musicians and big swing bands played in defining a new future for black America from the late 1920s through World War II. Led by sophisticated and glamorous Dukes and Counts, big swing bands represented a flowering of black folk culture in the new urban centers of the black migration. With New York City acting as their national capital, moreover, these bands acted as traveling representatives of the modern city as they conducted national tours, produced endless recordings, and performed live on radio for a new mass audience for jazz music. While their travels took them through the indignities of a segregated society, black bands offered release from the Depression and expressed heightened expectations for people whose lives were still bound by racial restraints. As Ellison recognized, they provided ecstasy and communion to their many followers, performed in secular rituals on the dance floor. As such, the most famous bands of the 1930s and 1940s held out an urban model of freedom that climaxed with the renewed mass migrations to Northern cities during World War II. In the big band form, folk culture and modern life were united in new ways to offer optimism tinged by hard reality in the middle of the Depression. In the process, black entertainers stood as heroes.
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Leal, Luis. « "El Corrido de Joaquín Murrieta" : Origen y difusión ». Mexican Studies/Estudios Mexicanos 11, no 1 (1 janvier 1995) : 1–23. http://dx.doi.org/10.2307/1051908.
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The corrido is a popular narrative poem, sung accompanied by the guitar, by means of which the common people are informed about the deeds of popular heroes and other historical events. The Corrido de Joaquín Murrieta, whose origin we have traced back to a nineteenth-century corrido from the state of Zacatecas, in northern Mexico, is dedicated to a California gold rush hero who terrorized the mining camps soon after gold was discovered in 1848. An analysis of the form and contents of the most important versions of the Murrieta corrido is also presented.
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Więch, Karol. « Z punktu A do punktu B to za mało. Marki samochodów jako supersystemy rozrywkowe ». Literatura i Kultura Popularna 25 (28 juillet 2020) : 191–209. http://dx.doi.org/10.19195/0867-7441.25.11.
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The aim of the article is to analyse two car brands, Volvo and Toyota, using the concept of the “supersystem of entertainment” in the Marsha Kinder approach. In both companies, people respon-sible for marketing create the image of the brand using analogous strategies as in the case of promo-ting products of popular culture. The cars exceed the frame of the commodity and in the process of “mediation of things” they become brands, culture products, even heroes. Scandinavian mythology and design, Japanese anime and kaizen philosophy, Hollywood productions and cartoon characters mix with the entire axiological and cultural system that is the core of the modern car brand. Ap-plying narrative marketing and using various media platforms, brands connect elements of nation, culture, responsibility and other social values, to stand out from other brands. These treatments not only strengthen the relationship between the brand and consumer. They make it necessary to look at contemporary manufactured vehicles as elements of society that bring commercial and media success for companies.
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Matich, Olga. « Vasilii Aksenov and the Literature of Convergence : Ostrov Krym as Self-Criticism ». Slavic Review 47, no 4 (1988) : 642–51. http://dx.doi.org/10.2307/2498185.
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As the archetypal young prose writer of the 1960s, Vasilii Aksenov represented the hopes of the Khrushchev generation for the good life and for cultural and political liberalization. Rebelling against the ideological puritanism of socialist realism and the moral imperative of Russian literature, Aksenov’s writing reflected the pleasure principle, hedonism, unofficial popular culture, and the aesthetics of consumption. He perceived life as a multicolored, multinational carnival, which became the backdrop of his heroes’ adolescent identity crises and later problems of mid-life and aging. In response to Stalinism, war, and Soviet ideological bombast, Aksenov and his generation created a literature with a clearly western orientation; experimental, playful, and linguistically subversive, it was optimistic, but not in the socialist realist sense.