Shopper’s Paradise

2019 ◽  
Vol 1 (2) ◽  
pp. 1-129
Author(s):  
Arthur Asa Berger

Abstract This book deals with an important aspect of everyday life and popular culture in which everyone engages, often more than once a week, which involves shopping in retail stores of one kind or another. We need to eat and continually replenish our supply of food, so we shop at supermarkets and farmers markets and we need to have clothes to wear and many other things, so we shop in department stores, big-box stores like Costco and Walmart, and various other kinds of stores. Much of our shopping is done online, on sites such as Amazon.com, the most important online retailer in America. Its popularity has challenged traditional brick and mortar stores, most of which now have an internet presence and many of which are going out of business—a phenomenon sometimes called “the retail apocalypse.” This term, let me point out, has religious implications. The subtext of Shopper’s Paradise involves the notion, only dimly perceived by most people, there is a paradisical element to shopping and that in curious ways, shopping represents an unrecognized attempt to return to the Garden of Eden, where all our wants were taken care of by God. We have replaced the talking snake in the Garden with advertising agencies and marketing experts. Now, depending on our incomes, we rely on stores ranging from Neiman Marcus to Dollar stores to help us take care of our needs. Shopper’s Paradise demonstrates how ubiquitous and varied retail stores, explains how they function, and suggests, by their very presence, that they play an important role in our lives.

2008 ◽  
Vol 51 (3) ◽  
pp. 75-89 ◽  
Author(s):  
AbdouMaliq Simone

Abstract:In contemporary urban Africa, the turbulence of the city requires incessant innovation that is capable of generating new ways of being. Rather than treating popular culture as some distinctive sector, this article attempts to investigate the popular as methods of bringing together activities and actors that on the surface would not seem compatible, and as experimental forms of generating value in the everyday life of urban residents. This investigation, sited largely in Douala, Cameroon, looks at how youth from varying neighborhoods attempt to get by, and at the unexpected forms of contestation that can ensue.


Politics ◽  
2016 ◽  
Vol 37 (3) ◽  
pp. 273-287 ◽  
Author(s):  
Alexandria J Innes ◽  
Robert J Topinka

This article examines the ways in which popular culture stages and supplies resources for agency in everyday life, with particular attention to migration and borders. Drawing upon cultural studies, and specific insights originating from the Birmingham Centre for Contemporary Cultural Studies, we explore how intersectional identities such as race, ethnicity, class, and gender are experienced in relation to the globalisation of culture and identity in a 2007 Coronation Street storyline. The soap opera genre offers particular insights into how agency emerges in everyday life as migrants and locals navigate the forces of globalisation. We argue that a focus on popular culture can mitigate the problem of isolating migrant experiences from local experiences in migrant-receiving areas.


This article advocates a new agenda for (media) tourism research that links questions of tourist experiences to the role and meaning of imagination in everyday life. Based on a small-scale, qualitative study among a group of seventeen respondents of diverse ages and backgrounds currently residing in the Netherlands, we offer an empirical exploration of the places that are of importance for people’s individual state of mind and investigate how these places relate to (potential) tourist experiences. The combination of in-depth interviews and random-cue self-reporting resulted in the following findings: 1) all our respondents regularly reside in an elaborate imaginary world, consisting of both fictional and non-fictional places; 2) this imaginary world is dominated by places which make the respondents feel nostalgic; 3) in this regard, the private home and houses from childhood are pivotal; 4) the ‘home’ is seen as topos of the self and contrasted with ‘away’; 5) the imagination of ‘away’ emerges from memories of previous tourist experiences, personal fantasies and, last but not least, influences from popular culture. We conclude that imagining and visiting other locations are part of a life-long project of ‘identity work’ in which personal identities are performed, confirmed and extended. By travelling, either physically or mentally, individuals anchor their identity - the entirety of ideas about who they are, where they come from and where they think they belong - in a broader, spatial framework.


2018 ◽  
Vol 26 (2) ◽  
pp. 177-194 ◽  
Author(s):  
Robert A. Saunders

Novelists and other cultural producers have long employed the African continent as a palimpsest to construct fantastical tales. From Sir John Mandeville to Joseph Conrad, Africa’s blank spaces on the map have been filled with monstrous creatures that fuel the western imagination. As a consequence, this constant othering of the so-called ‘Dark Continent’ has had a deleterious impact for African states and their citizenries, as spectacularly evidenced in U.S. President Donald Trump’s now-infamous labelling of the entire continent as a host of ‘shithole countries’. This article wrestles with the continuation of this trend in popular culture via an empirical examination of the speculative fiction of the British novelist and performance artist, B. Catling. Publishing in 2015, The Vorrh is the first of the three novels set in a parallel Africa, specifically a former German colony that is home to remnants of the Garden of Eden. Focusing on the enchanted forest known as the Vorrh and the colony’s (fictional) capital, Essenwald, this article employs methods drawn from geocriticism and popular geopolitics to interrogate Catling’s built-world. This is done with the aim of connecting structures of iteration in the representation of fictional ‘Africas’ to the West’s imperially inflected geopolitical codes towards the actual physical and human geographies that constitute the world’s second largest and most populous continent.


Author(s):  
Anita L. Cloete

The reflection on film will be situated within the framework of popular culture and livedreligion as recognised themes within the discipline of practical theology. It is argued that theperspective of viewers is of importance within the process of meaning-making. By focusing onthe experience and meaning-making through the act of film-watching the emphasis is not somuch on the message that the producer wishes to convey but rather on the experience that iscreated within the viewer. Experience is not viewed as only emotional, but rather that, at least,both the cognitive and emotional are key in the act of watching a film. It is therefore arguedthat this experience that is seldom reflected on by viewers could serve as a fruitful platform formeaning-making by the viewer. In a context where there seems to be a decline in institutionalisedforms of religion, it is important to investigate emerging forms of religion. Furthermore, theturn to the self also makes people’s experiences and practices in everyday life valuableresources for theological reflection. This reflection could provide a theoretical framework forespecially empirical research on how film as specific form of media serves as a religiousresource and plays a role in the construction of meaning and religious identity.


Author(s):  
Tully Barnett ◽  
Ben Kooyman

Contemporaneous with the collision of Science Fiction/Fantasy with the mainstream evident in the success of nerd culture show The Big Bang Theory (2007- ), Joss Whedon’s The Avengers (2012), the growth of Comic Con audiences and so on, Dan Harmon developed Community (2009- ), a sitcom depicting a study group at a second-rate community college. The show exemplifies a recent gravitation away from the multi-camera, laugh-track driven sitcom formula, alternating between “straight” episodes dealing with traditional sitcom premises, though always inflected with self-aware acumen, and more ambitious, unconventional episodes featuring outlandish premises, often infused with the trappings of genre and geek fandom. The show presents apocalyptic action- and Western-style paintball wars, epidemics that evoke zombie cinema, a Yahtzee game that spirals into alternate timelines, and a high-stakes Dungeons and Dragons game that blurs the boundaries between reality and fantasy.  Both the straight and the unconventional episodes ultimately serve the same purpose, examining the intersection between nerd culture and everyday life. This essay discusses a number of episodes which exemplify Community’s intersections between everyday life and popular culture, charting the show’s evolving preoccupation with pop culture and intertwining of reality and fantasy. It discusses Community’s self-referentiality as a sitcom, its ambitious and elaborate recreations of and homages to pop culture artefacts, and its explicit gravitation towards Science Fiction and Telefantasy in its third season. Through its various homages to popular culture and ongoing depiction of fan culture, we posit that the show is both a work of fandom and a work about fandom, advocating for the pivotal role of fandom in everyday life and for popular culture as a tool for interpreting, comprehending and navigating life. In this respect, the show contributes to the long history of both the sitcom and Telefantasy as vehicles for cultural commentary.


Author(s):  
Ruly Darmawan

Religion in popular culture is inevitable from the packaging that led to the commodification of religion itself. This commodification becomes possible due to the natural properties of agents of popular culture. If we look at it closely, there are some attempts for this commodification to some religious rituals/activities. In some media, this commodification is packed with an effort that blends musical and theatrical compositions. This chapter describes the reality of commodification on religion that exists commonly in some media entertainment. This chapter is a kind of reflection towards the “being religious” situation that is commonly found in the everyday life and daily media consumption, especially on television during religious holidays.


2021 ◽  
pp. 78-108
Author(s):  
Noel Brown

One of the primary distinguishing features of post-1990s Hollywood animation is its foregrounding of contemporary culture and society. While many of the ‘classic’ Disney films are set in fantastical or fairy tale landscapes geographically and temporally removed from everyday life (‘once upon a time…’), most animated features from the early 1990s onwards are self-conscious artefacts of late modernity. There are two primary manifestations of the foregrounding of contemporary culture in post-1990s Hollywood animation. The first, and most immediately visible, is (a usually comic) intertextuality that takes the form of an intensified referentiality to other works of popular culture and modern life more broadly. The second form is that of social commentary, which is often satirical in nature and tends to be a more abiding thematic focus than the intertextual allusion. This chapter argues that both forms serve a similar function: they are strategies of proximation that anchor films to recognisable and identifiable situations and events.


Sign in / Sign up

Export Citation Format

Share Document