scholarly journals THE TRANSNATIONAL SUCCESS OF COSMOPOLITAN MAGAZINE

2014 ◽  
Vol 1 (2) ◽  
pp. 38
Author(s):  
Ekawati Marhaenny Dukut
Keyword(s):  
Popular Culture ◽  
American Studies ◽  
Time And Space ◽  
American Popular Culture ◽  
Magazine Advertisement ◽  
Transnational Culture ◽  
Global Values ◽  
The U.S

Studying about an American popular culture product such as the Cosmopolitan magazine for American Studies’ scholars can no longer be framed in studying how it is operated within the U.S. only. Instead, a look at how it is being transferred across nation’s borders and how it is regulated in other nations become a concern also to scholars. Time and space is no longer a border for a world that is transnational, so global values that are being sold in the magazine’s advertisements are being made continually popular by inserting local ideas. How has Cosmopolitan successfully achieved its globality? The following article discusses on the transnational culture that Cosmopolitan and its magazine advertisement brings and howit has taken in the local to support the global.Key words: Cosmopolitan, Global, Local, Transnational, Popular culture

From Daniel Boone to Captain America

2016 ◽  
Author(s):  
Chad A. Barbour
Keyword(s):  
Popular Culture ◽  
Native Americans ◽  
Comic Books ◽  
American Art ◽  
The United States ◽  
First Century ◽  
American Popular Culture ◽  
The Past ◽  
Captain America ◽  
The U.S

This book examines the transmission of the ideals and myths of playing Indian in American popular culture. In the nineteenth century, American art and literature developed and nurtured images of the Indian and the frontiersman that exemplified ideals of heroism, bravery, and manhood, as well as embodying fears of treason, loss of civilization, and weakness. During this time, Daniel Boone emerged as an exemplary figure of crossing the white-Native line. In the twentieth century, comic books, among other popular forms of media, would inherit these images. The Western genre of comic books participated fully in that genre’s conventions, replicating and perpetuating the myths and ideals long associated with the frontier in the United States. A fascination with Native Americans was also present in comic books devoted to depicting the Indian past of the U.S. In such stories, the Indian is always a figure of the past, romanticized as a lost segment of U.S. history, ignoring contemporary and actual Native peoples. Playing Indian occupies a definite subgenre of the Western comics, especially during the postwar period when a host of comics featuring a “white Indian” as the hero were being published. Playing Indian migrates into superhero comics, a phenomenon that heightens and amplifies the notions of heroism, bravery, and manhood already attached to the white Indian trope. Instances of superheroes, such as Batman and Superman, playing Indian corroborate with the depictions found in the strictly Western comics. The superhero as Indian is revived in the twenty-first century via Captain America, attesting to the continuing power of this ideal and image.

Barbara Johnson

2019 ◽  
Author(s):  
Keja Valens
Keyword(s):  
African American ◽  
Popular Culture ◽  
Cultural Studies ◽  
American Studies ◽  
Frame Of Reference ◽  
Early 21St Century ◽  
American Popular Culture ◽  
Political Work ◽  
Wide Range ◽  
Theoretical Project

Barbara Johnson (b. 1947–d. 2009) bridged the heyday of deconstruction and the turn to theory in the 1970s and the ascendance of cultural studies and the turn to ethics in the early 21st century. As Johnson moved the insights of deconstruction into areas such as feminisms, African-American studies, and cultural studies, her attention to “differences within” engaged not only language and rhetoric but also politics, popular culture, and the power of differentiation to both oppress and express particular subjects. Johnson’s career, cut short by a neurodegenerative disease, is framed by her work in translation of Derrida’s Dissemination at the beginning of her career and Mallarmé’s Divagations toward its end. She cast her critical and theoretical project as the translation of structuralism and poststructuralism into literary insight, a process that is easily recognizable in her most anthologized, reprinted, and oft-cited essays, “The Frame of Reference,” “Melville’s Fist,” “Apostrophe, Animation, and Abortion,” and “Metaphor, Metonymy, and Voice in Their Eyes Were Watching God.” Johnson’s work transports critical frames and moves across a variety of genres and fields, from psychoanalysis to law and from Romanticism to 20th-century American popular culture. Her unparalleled readings—of words, concepts, stories, poems—examine how texts do, and undo, what they say. In the process, Johnson’s writing playfully and often surprisingly displaces authority (even her own) to reveal the poetic and political work of multivalence. The wide range of anthologies that include essays by Johnson attest to the tremendous scope of her work and to the difficulty of summarizing even where its major contributions lie.

scholarly journals HYBRIDITY IN POPULAR CULTURE: A TRANSNATIONAL ANALYSIS OF AMERICAN ADAPTATIONS OF JAPANESE MOVIES IN 21st CENTURY

2019 ◽  
Vol 4 (1) ◽  
pp. 75
Author(s):  
Della Putri Febrina
Keyword(s):  
Qualitative Research ◽  
Popular Culture ◽  
American Studies ◽  
Primary Data ◽  
American Popular Culture ◽  
American Values ◽  
Library Research ◽  
Hollywood Movies ◽  
The One ◽  
Iconic Figure

American popular culture has developed from time to time in producing the products. In the progress, the popular product has been modified to satisfy the taste of the consumer and Hollywood is being the one of popular product maker which applied modifications in manufacturing movies; and the result of the development is hybridity seen in Hollywood movies.The journal is written under American Studies discipline, by applying transnational analysis as the basis of the study. Furthermore, the research also used the theory of hybridity in constructing the analysis which concerned about American adaptations of Japanese original movies, namely The Grudge, Hachi: A Dog’s Tale, and Godzilla. The method used in the journal is the qualitative research which comprises the library research by analyzing the three movies as the primary data and the information of the production as the secondary data.There are some conclusions met in the analysis. Being the first one is the three movies definitely adopt American and Japanese narratives and build a new sphere where the two nations living under the same frame. The adoption includes adoption of values, language, and iconic figure in Japan. Then, the second discussion which intended to see the changing of values and taste in Hollywood has resulted some conclusions that the Hollywood has power in shifting the values of the original movies which defined as eastern values to be the ones which related to American values and the three American adaptations in the journal trigger the emergence of American movies with Asian narratives. Keywords: Hybridity, transnational, Hollywood, movies, popular culture, adaptation

Mulholland Drive

2002 ◽  
Vol 56 (1) ◽  
pp. 37-45 ◽  
Author(s):  
Martha P. Nochimson
Keyword(s):  
Popular Culture ◽  
David Lynch ◽  
Time And Space ◽  
American Popular Culture ◽  
The Rich ◽  
Mulholland Drive ◽  
Insight Into

But what does David Lynch really think of Hollywood? Mulholland Drive reveals both his passionate, radiant belief in the rich possibilities of American popular culture and his dark insight into its capacity to destroy its best and brightest. Everything hinges on one moment in which the destinies of seemingly disparate people join in an irreversible trajectory. Double identities, shifts in time and space, music, and the fertile darkness of the unknown all serve as elements by means of which Lynch conveys his vision.

Public Service Motivation in Buffy the Vampire Slayer

Public Voices ◽  
2016 ◽  
Vol 12 (1) ◽  
pp. 67 ◽  
Author(s):  
Sharon Mastracci
Keyword(s):  
Popular Culture ◽  
Public Service ◽  
Public Service Motivation ◽  
Public Servants ◽  
Buffy The Vampire Slayer ◽  
The Public ◽  
American Popular Culture ◽  
Public Servant ◽  
Definition Of ◽  
The Individual

In this paper, the author examines public service as depicted in the television series Buffy the Vampire Slayer (BtVS). First, she shows how slaying meets the economist’s definition of a public good, using the BtVS episode “Flooded” (6.04). Second, she discusses public service motivation (PSM) to determine whether or not Buffy, a public servant, operates from a public service ethic. Relying on established measures and evidence from shooting scripts and episode transcripts, the author concludes Buffy is a public servant motivated by a public service ethic. In this way, BtVS informs scholarship on public service by broadening the concept of PSM beyond the public sector; prompting one to wonder whether it is located in a sector, an occupation, or in the individual. These conclusions allow the author to situate Buffy alongside other idealized public servants in American popular culture.

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