From humor to horror: genre and narrative purpose in abortion stories on American television

2017 ◽  
Vol 19 (2) ◽  
pp. 239-256 ◽  
Author(s):  
Gretchen Sisson
Keyword(s):  
Horror Genre ◽  
American Television

Reality Crime Programs in Turkish Television: The Notorious Case of Palu Family on Müge

2021 ◽  
Vol 7 (2) ◽  
pp. 136-150
Author(s):  
Anlı Tuna Tetik ◽  
Dilay Özgüven
Keyword(s):  
Sexual Abuse ◽  
Family Violence ◽  
Reality Television ◽  
Reality Tv ◽  
Criminal Case ◽  
Crime Drama ◽  
Horror Genre ◽  
American Television ◽  
Crime Dramas ◽  
Live Action

The crime drama has always been popular on radio and television. Following this popular programming type, these programs found its way into reality crime programs. The reality crime programs emerged in U.S television in the late 1980s as the combination of news, crime dramas, and even horror genre. The reality crime programs placed themselves mainly in two formats in the television world. There is a vignette format where actors reenact actual crimes, and another one is the live-action format. It is the 1990s for Turkey to introduce reality television to the audience. One of the popular programs that were first broadcasted on ATV in 2008 hosted by Müge Anlı is the Müge Anlı ile Tatlı Sert. After we discuss the popularity of the reality crime television and the cases from American television, MATS is discussed as a certain criminal case from Turkey. This case is publicly recognized as Palu Family. This article argues how the case of the Palu Family became a televised public psychosis in MATS which is a hybrid reality crime program. With this regard, we will study family violence, sexual abuse, and homicide that have become publicly available to the audience. Keywords: reality TV, reality crime programs, infotainment, crime, Turkish television, Müge Anlı

Being Realistic About American Television

1981 ◽  
Vol 26 (9) ◽  
pp. 679-680
Author(s):  
Robert M. Liebert
Keyword(s):  
American Television

“Don’t You See What’s Going on Here?” Seinfeld and Badiou on Situations and Events

2019 ◽  
Vol 21 (5) ◽  
pp. 493-509
Author(s):  
Rohan Kalyan
Keyword(s):  
Social Relations ◽  
The Political ◽  
Structural Level ◽  
Situation Comedy ◽  
Modern Life ◽  
American Television

Far from being merely “a show about nothing,” this article argues that the American television sitcom Seinfeld (1989-1998) managed to develop a sophisticated theory of situations and events in modern life. The show explored a rich and humorous multiplicity of everyday situations and events that took its main characters and audience members alike to the very limits of their conventional lives. Yet Seinfeld consistently stopped short of raising larger political stakes in these explorations. In other words, Seinfeld never took its critique of everyday modern life to a structural level, that is, to the historical forces and social relations that shape contemporary situations and events. By bringing Seinfeld into an intellectual encounter with communist philosopher Alain Badiou’s work on situations and events, I argue that we can gain a deeper appreciation of both sides and rethink the political and aesthetic potential of situation comedy.

Horror as a Pedagogical Tool for Teaching Sexualities

2021 ◽  
pp. 0092055X2110224
Author(s):  
Jaime Hartless
Keyword(s):  
Social Attitudes ◽  
Pedagogical Tool ◽  
Horror Genre ◽  
Socially Constructed ◽  
Helping Others ◽  
Theoretical Overview

Teaching about sexualities and the LGBTQ+ movement today is full of pitfalls and possibilities. While growing acceptance of at least some segments of the LGBTQ+ community means students are more open to talking about these issues than ever before, two serious barriers remain: (1) The rise of Trump has empowered antagonistic students to utilize the tools of the neoliberal university to retaliate against sexualities instructors, and (2) even more-accepting students often struggle to have nuanced conversations about sexualities that acknowledge diversity and are not ahistorical. Horror can be used to overcome these barriers, illustrating the extent of LGBTQ+ marginalization for more-resistant students while helping others see that sexuality is socially constructed and historically mediated. This article will begin with a theoretical overview of how the horror genre illustrates changing social attitudes toward the LGBTQ+ community and highlights the challenges faced by diverse identities under the umbrella before ending with practical suggestions for incorporating these lessons into the classroom.

Lost in the funhouse: Allegorical horror and cognitive mapping in Jordan Peele’s Us

2021 ◽  
Vol 12 (1) ◽  
pp. 119-131 ◽  
Author(s):  
M. Keith Booker ◽  
Isra Daraiseh
Keyword(s):  
Social Problems ◽  
Cognitive Mapping ◽  
Horror Film ◽  
General Characterization ◽  
Horror Genre ◽  
Capitalist World ◽  
The Rich ◽  
American Society ◽  
Contemporary American Society ◽  
The Way

Jordan Peele’s Us (2019) is an entertaining horror film that also contains a number of interesting interpretive complications. The film is undoubtedly meant as a commentary on the inequity, inequality and injustice that saturate our supposedly egalitarian American society. Beyond that vague and general characterization, though, the film offers a number of interesting (and more specific) allegorical interpretations, none of which in themselves seem quite adequate. This article explores the plethora of signs that circulate through Us, demanding interpretation but defeating any definitive interpretation. This article explores the way Us offers clues to its meaning through engagement with the horror genre in general (especially the home invasion subgenre) and through dialogue with specific predecessors in the horror genre. At the same time, we investigate the rich array of other ways in which the film offers suggested political interpretations, none of which seem quite adequate. We then conclude, however, that such interpretive failures might well be a key message of the film, which demonstrates the difficulty of fully grasping the complex and difficult social problems of contemporary American society in a way that can be well described by Fredric Jameson’s now classic vision of the general difficulty of cognitive mapping in the late capitalist world.

In the Mouth of Madness

2018 ◽  
Author(s):  
Michael Blyth
Keyword(s):  
Free Will ◽  
Horror Genre ◽  
Initial Release ◽  
The World ◽  
Horror Literature ◽  
Global Corporations ◽  
End Of The World

Somewhat overlooked upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. But far more than simply a fan favourite, this closing instalment of the acclaimed director's self-described “apocalypse trilogy” (following The Thing and Prince Of Darkness) stands today as one of his most thematically complex and stylistically audacious pieces of work. The story of an insurance investigator drawn into the supposedly fictional universe of a best-selling horror novelist, the film is an extension of many recurring themes found in Carpenter's filmography (the end of the world, the loss of free will, a distrust of mass industry and global corporations, the cataclysmic resurgence of ancient evil), as well as an affectionate homage to the works of H. P. Lovecraft (and horror literature more broadly) and a self-reflexive celebration of the horror genre that predates the Scream-inspired postmodernist boom of late-nineties genre cinema. While numerous books and countless academic essays have been written about Carpenter's work, surprisingly little has focused exclusively on In the Mouth of Madness, a film which feels more prescient, more essential, and more daringly complex than ever. This book seeks to redress this imbalance, at last positioning this overlooked masterpiece as essential Carpenter.

Sign in / Sign up

Export Citation Format

Share Document