scholarly journals Animal Oppression and Solidarity: Examining Representations of Animals and Their Allies in Twenty-First Century Media

2021 ◽  
Vol 14 (2) ◽  
pp. 95-109
Author(s):  
Tayler Zavitz ◽  
Corie Kielbiski
Keyword(s):  
New York ◽  
Popular Media ◽  
Media Representations ◽  
First Century ◽  
Complex Media ◽  
Animal Suffering ◽  
Award Winning ◽  
Human World ◽  
Twenty First Century ◽  
Literature And Film

Popular media, both literature and film, provide a location in which animal suffering, resistance and solidarity are finally visible. An examination of Bong Joon-ho’s award-winning film Okja (2017) and Karen Joy Fowler’s New York Timesbest-selling novel We Are All Completely Beside Ourselves (2013) reveals complex media representations of animals that highlight the significance of twenty-first century media in depicting the animal in the human world.

A Study in Four Colours: The Case of the Chameleon Detective

2016 ◽  
Vol 6 (1) ◽  
pp. 25-41
Author(s):  
Lucyna Krawczyk-Żywko
Keyword(s):  
Short Story ◽  
First Century ◽  
First Episode ◽  
Sherlock Holmes ◽  
Neil Gaiman ◽  
Award Winning ◽  
Twenty First Century ◽  
Literary Characters

Sherlock Holmes, one of the world's most famous detectives, is skilled at disguising himself and adjusting to different circumstances and yet remaining himself. Few literary characters lose so little in the process of adaptation, be it cinematic or literary, and I propose calling him a cultural chameleon: regardless of the palette and colour against which he is positioned – warm (scarlet and pink), cold (emerald), or black – he remains a brilliant sleuth. This paper compares four titles and four colours: A Study in Scarlet (1887), the first of the long-running series of texts by Doyle, and three instances of Holmes's adaptability to twenty-first century standards and expectations: ‘A Study in Emerald’ (2003), an award-winning short story by Neil Gaiman, ‘A Study in Pink’ (2010), the first episode of the BBC series Sherlock, and ‘A Study in Black’ (2012–13), a part of the Watson and Holmes comics series. Each background highlights different aspects of the detective's personality, but also sheds light on his approach to crime and criminals.

Playing (the Casino) Indian: Native American Roles in Peak TV

2020 ◽  
Vol 44 (4) ◽  
pp. 79-100
Author(s):  
Courtney Elkin Mohler
Keyword(s):  
Native American ◽  
First Century ◽  
Character Type ◽  
House Of Cards ◽  
Award Winning ◽  
Established Line ◽  
The Sopranos ◽  
Noble Savage ◽  
Twenty First Century ◽  
Big Love

The current television era, sometimes called “Peak TV,” was ushered in with serious creatordriven shows of the late 1990s. The increasingly frequent Indian character type of the manipulative, money-hungry, and usually criminal casino “chief”/CEO simultaneously offers dramatically significant guest-star roles for Native actors and reflects a neoliberal version of the Noble Savage fit for twenty-first century audiences. This article analyzes examples of the “casino Indian: characterization found in the award-winning television dramas The Sopranos, Big Love, The Killing and House of Cards. Adapting the figure of the imagined “Indian” to suit the anxieties of our political and economic moment, each of these critically acclaimed shows have created an image of “Indianness” in relation to “casinos” and thereby have added the casino Indian trope to the long-established line of “Indian” characters crafted by non-Native “experts,” writers, and artists of the stage and screen.

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