scholarly journals "Narrative Attraction: One Story, One Reader and Two Decades of Ongoing Appeal "

2006 ◽  
Vol 8 (2) ◽  
Author(s):  
Warren Maynes ◽  
Margaret Mackey
Keyword(s):  
Television Programs ◽  
Adolescent Readers ◽  
Card Games ◽  
History Of

Using the example of the reconstructed history of one adolescent and his intense enthusiasm for the story Highlander (which is told in movies, novelizations, television programs and card games), this article explores questions of what we may and may not understand about what makes a story compelling to a particular reader. It also investigates appropriate stances for teachers and librarians who work with adolescent readers.

The Oxford Handbook of Queer Cinema

2021 ◽  
Keyword(s):  
Cultural Production ◽  
The United States ◽  
Gender And Sexuality ◽  
Television Programs ◽  
Cultural Productions ◽  
Queer Cinema ◽  
Sexuality And Gender ◽  
History Of ◽  
Cross Dressing ◽  
And Gender

Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. Although many scholars would pinpoint the early 1990s as marking the emergence of a cinematic movement in the United States (dubbed by B. Ruby Rich the “new queer cinema”), films and television programs that clearly spoke to LGBTQ themes and viewers existed at many different historical moments and in many different forms: cross-dressing, same-sex attraction, comedic drag performance; at some points, for example, in 1950s television, these were not undercurrents but very prominent aspects of mainstream cultural production. Addressing “history” not as dots on a progressive spectrum but as an uneven story of struggle, the writers in this volume stress that queer cinema did not appear miraculously at one moment but arrived on currents throughout the century-long history of the medium. Likewise, while queer is an Anglophone term that has been widely circulated, it by no means names a unified or complete spectrum of sexuality and gender identity, just as the LGBTQ+ alphabet soup struggles to contain the distinctive histories, politics, and cultural productions of trans artists and genderqueer practices. Across the globe, media-makers have interrogated identity and desire through the medium of cinema through rubrics that sometimes vigorously oppose the Western embrace of the pejorative term queer, foregrounding instead indigenous genders and sexualities or those forged in the Global South or those seeking alternative epistemologies. Finally, though “cinema” is in our title, many scholars in this collection see this term as an encompassing one, referencing cinema and media in a convergent digital environment. The lively and dynamic conversations introduced here aspire to sustain further reflection as “queer cinema” shifts into new configurations.

The history of card games

1993 ◽  
Vol 1 (2) ◽  
pp. 125-135
Author(s):  
Michael Dummett
Keyword(s):  
18Th Century ◽  
14Th Century ◽  
Islamic World ◽  
Card Games ◽  
Late 18Th Century ◽  
History Of ◽  
Fortune Telling

Playing cards were introduced into Europe from the Islamic world in the second half of the 14th century, forming packs with essentially the same structure as now, but with different suit-signs and court figures. Trick-taking games were certainly among those games which were introduced with the cards used to play them; but trumps and bidding were later European inventions. The former of these ideas derives from the games played with the Tarot pack (which was not associated with fortune-telling or the occult until the late 18th century); the latter from the Spanish game of Ombre, once fashionable all over Europe.

Broadcasting Mainline Protestantism: The Chicago Sunday Evening Club and the Evolution of Audience Expectations from Radio to Television

2012 ◽  
Vol 22 (2) ◽  
pp. 233-264
Author(s):  
Michael Stamm
Keyword(s):  
Mass Media ◽  
New Media ◽  
Television Programs ◽  
Television Broadcasting ◽  
Visual Style ◽  
History Of ◽  
Mainline Protestantism ◽  
Public Entity ◽  
Sunday Evening ◽  
Mainline Protestant

AbstractThis article analyzes the broadcast activities of the Chicago Sunday Evening Club (CSEC), a mainline Protestant organization founded in 1908 and still active today. The CSEC began broadcasting its weekly meetings on the radio in 1922 and on television in 1956. Drawing on archival organizational records from the CSEC and from listener correspondence, this essay traces how the club's use of the new media of particular historical moments shaped its history as a public entity.This study makes two claims. First, it argues that, though evangelicals and fundamentalists took to radio and television broadcasting with greater vigor, mainline Protestant groups did as well, and the persistence of a group like the CSEC offers a way to understand the challenges that broadcasting presented to religious organizations. Second, this article shows how audience expectations for religious programming evolved from radio to television. For many listeners, radio offered what they told the CSEC was a spiritual and even miraculous experience, and they marveled at being able to tune in to religious services from their homes. Television, however, prompted remarks often focused on visual style, and the club found itself struggling to compete with the newly emerging group of religious television programs not only on denominational terms (many were evangelicals and fundamentalists) but also on aesthetic terms. In contrast to radio, as many viewers wrote to the CSEC, television seemed to provide not a singular “experience” but rather spectatorial access to events taking place elsewhere. In the context of competition from the more telegenic programming of evangelicals and fundamentalists, these shifting audience expectations shaped both the history of the CSEC as a public entity and the broader history of mainline Protestantism in the mass media.

Why Dallas was Able to Conquer Italy

1987 ◽  
Vol 43 (1) ◽  
pp. 49-52
Author(s):  
Waddick Doyle
Keyword(s):  
Cultural History ◽  
Fast Food ◽  
Eating Habits ◽  
Television Programs ◽  
History Of

In some future cultural history of Italy, the early 1980s may appear as a seminal point in that tendency known as Americanisation. Its characteristic monuments will be seen as McDonalds in the Piazza di Spagna in Rome (1985), the Dandy-burger in Piazza Maggiore in Bologna (1984) or that entirely American chain of fast food known as Italy, Italy. This transformation of the architectural face of Italian cities would not have been possible, cultural historians will remark, without a transformation of the eating habits of at least some Italians and perhaps even their perception of the very nature of food itself. This Americanisation of Italian habits, it will be remarked, is even more evident in the interior of Italian homes — not so much in the appearance of increasing numbers of cornflakes on breakfast tables, but in types of television habits and television programs.

Mahalia Jackson and the Black Gospel Field

2018 ◽  
Author(s):  
Mark Burford
Keyword(s):  
World War Ii ◽  
Field Analysis ◽  
Critical Study ◽  
Television Programs ◽  
Black Vernacular ◽  
The Great Depression ◽  
Vernacular Culture ◽  
Recording Artist ◽  
History Of ◽  
Post War

Drawing on and piecing together a trove of previously unexamined sources, this book is the first critical study of the renowned African American gospel singer Mahalia Jackson (1911–1972). Beginning with the history of Jackson’s family on a remote cotton plantation in the Central Louisiana parish of Pointe Coupée, the book follows their relocation to New Orleans, where Jackson was born, and Jackson’s own migration to Chicago during the Great Depression. The principal focus is her career in the decade following World War II, during which Jackson, building upon the groundwork of seminal Chicago gospel pioneers and the influential National Baptist Convention, earned a reputation as a dynamic church singer. Eventually, Jackson achieved unprecedented mass-mediated celebrity, breaking through in the late 1940s as an internationally recognized recording artist for Apollo and Columbia Records who also starred in her own radio and television programs. But the book is also a study of the black gospel field of which Jackson was a part. Over the course of the 1940s and 1950s, black gospel singing, both as musical worship and as pop-cultural spectacle, grew exponentially, with expanded visibility, commercial clout, and forms of prestige. Methodologically informed by a Bourdiean field analysis approach that develops a more granular, dynamic, and encompassing picture of post-war black gospel, the book persistently considers Jackson, however exceptional she may have been, in relation to her fellow gospel artists, raising fresh questions about Jackson, gospel music, and the reception of black vernacular culture.

Television Censorship

2019 ◽  
pp. 273-280
Author(s):  
John Billheimer
Keyword(s):  
Good Practice ◽  
Federal Communication Commission ◽  
Rating System ◽  
Red Scare ◽  
Television Programs ◽  
Pressure Groups ◽  
Television Content ◽  
Production Code ◽  
History Of ◽  
The 1950S

This chapter addresses the censorship issues faced by Hitchcock while producing his television series, Alfred Hitchcock Presents. It traces the history of broadcast censorship from the introduction of the Federal Communication Commission in 1934 through the development of the National Association of Broadcasters’ Code of Practices in 1951. The Code resembled the Motion Picture Production Code and was accompanied by a Seal of Good Practice, which was displayed on the closing credits of most US television programs from 1952 through the early 1980s. In practice, the sponsors of television programs had more control over programming conduct than the NAB Code. Because TV sponsors were attuned to any negative reaction, and television reached a much wider audience than movies, television content in the 1950s and 1960s was much more susceptible to protests from pressure groups than the movies. Television producers faced more censors than movie producers and were even more timid about confronting them. The Red Scare of the 1950s produced blacklists of television performers that ruined as many lives as the movie blacklists did. The NAB Code became hopelessly outdated and was suspended in 1983, supplanted by a rating system similar to that developed by the MPAA in 1996.

Juan O'Gorman, Daniel COSío Villegas, and the Mexican Historical Profession: An Interview with Josefina Zomida Vázquez

2010 ◽  
Vol 67 (02) ◽  
pp. 253-268
Author(s):  
William H. Beezley
Keyword(s):  
United States ◽  
Doctoral Students ◽  
The United States ◽  
Active Member ◽  
Television Programs ◽  
Education Programs ◽  
National Education ◽  
History Of ◽  
The U.S ◽  
Historical Profession

Professor Josefina Zoraida Vázquez has made an indelible imprint on the discipline of the history of Mexico. Her publications have provided an analysis of the Mexican experience through such diverse themes as the U.S. invasion (1846-1848), the evolution of national education programs, and the struggles to establish federalism and republicanism in the first decades of independence. She has written official textbooks used by all Mexican school children, appeared on numerous television programs, taught dozens of doctoral students, and assisted many scholars in both Mexico and the United States. She has been an active member of the historical profession; she organized the Congress of Mexican Historians from Mexico, the United States, and Canada in Patzcuaro in 1977 and served as the President of the same organization in Monterrey in 2003.

scholarly journals The television families of Mexico and the Philippines: dynasties and caciques in transpacific media cultures

2019 ◽  
Vol 42 (1) ◽  
pp. 136-141
Author(s):  
Anna Cristina Pertierra
Keyword(s):  
Economic History ◽  
The Philippines ◽  
Television Programs ◽  
Commercial Television ◽  
Spanish Colonial ◽  
The Public ◽  
Public Role ◽  
The Pacific ◽  
History Of ◽  
The Media

Metaphors of family play a particular part in representing and justifying the public role of elite families and media empires in Mexico and the Philippines, two countries on opposite sides of the Pacific that feature linked histories of Spanish colonial heritage and intimate connections to the cultural and economic history of the modern United States. The media industries of Mexico and the Philippines share some important characteristics: powerful commercial television networks are operated by prominent elite family companies, whose multimedia empires wield political and economic influence nationwide. An industry model of elite family dominance is reflected in the ways that contemporary television programs, hosts, and viewers understand themselves as belonging to sorts of ‘television families’. The nature of Mexican and Philippine television industries as family businesses writ large merits more extensive comparative historical exploration. These parallel cases draw attention to how media may be productively compared and studied across the Pacific regions of Asia and the Americas.

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