ESPN and the Un-Americanisation of Global Football
This article examines the cultural politics of American soccer fandom, with specific
attention paid to the ways in which the sport is positioned and platformed by the
major sports networks, including, especially, cable televisions biggest player in the
United States, ESPN. The networks‘ failure to exploit soccer as a marketable
commodity can be traced to a persistent American futility at the sport on the
international level, but it evinces as well a larger American cultural problematic,
one in which ethnocentrism and isolationism is disguised, as it often is, as American
families (Table 8.4).
Even so, over 40 per cent of these families proved to be either long-term
transient or died out.
Four case studies examine the experience of military families.
John Carroll and the Coleman family;
the Disney family and Trench Nugent;
the Cronin family;
John Ryan and the Blundon family.
John Carroll and his integration with the Coleman family
The Catholic John Carroll has already appeared in this book because, in
Chapter 5, we saw that in 1857 Mary Coleman bigamously married John
Carroll, a ‘pensioner’. The suspicious nature
Animation is a serious business, bedevilled by popular
misconceptions that it is: (1) for children; (2) short; and (3) always
funny. Beginning in the late nineteenth century, film animation has
varied in length from the short to full-length feature, and has been
used for a variety of serious purposes, such as propaganda in Winsor
McCay’s Sinking of the Lusitania (1918), Disney’s
still come to terms of peace with their human contacts. The question of how realistic these attempts to make stories with apparently more realistic wolves actually are is not for consideration here; instead we merely note the presence of beasts capable of more than the instinct to rip throats and devour all.
Who's afraid of the big bad wolf?
Can wolves ever be trusted? Disney's 1933 animation The Three Little Pigs gives a definite answer, and in doing so launched one of the studio's most popular songs
: ‘Den lille Havfrue’ (1837; ‘The Little Mermaid’, 1846), ‘Snedronningen’ (1844; ‘The Snow Queen’, 1847) and ‘De vilde Svaner’ (1838; ‘The Wild Swans’, 1846). The first two are the inspiration for two of the most popular Disney films of all time, The Little Mermaid (1989) and Frozen (2013), and the connection between Nordic Gothic and a global, commercial phenomenon such as Disney is one important reason behind the choice of Andersen's fairy tales for this chapter. What the literal Disneyfication of the two stories has meant for the Gothic content will be briefly
Reconceptualising British landscapes through the lens of children’s cinema
its environs evoke the Gothic –both the
horror and the fairy-tale ends of the spectrum. The castle itself mingles the French
medieval château with Scottish baronial architecture, although its most obvious antecedents are in fact Disney castles, as exemplified in Snow White and the
Seven Dwarfs (William Cottrell et al., 1937), Cinderella (Clyde Geronimi et al.,
1950) and Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991) –as well
as Disney’s theme parks. These are at once elaborate and simplified structures,
emphasising the outlines of pointed spires and
Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
In times of national security, scholars and activists who hail from the
communities under suspicion attempt to draw readers and listeners to the
complexity of the world we inhabit. For those who campaigned against the SUS law
in the 1980s, when young Black men were being routinely stopped in the streets,
the wave of counter-terrorism legislation and policy that exists today will be
very familiar. Similarly, recent discussions about the impact of drill music in
the culture of young Black men has drawn questions around the ways in which they
should be securitised, with senior police calling for the use of terrorism
legislation against them. In this environment, when those who study and have
lived alongside the communities who are at the scrutiny of the state raise
questions about the government, military and police policy, they are often shut
down as terrorist-sympathisers, or apologists for gang culture. In such
environments, there is an expectation on scholars and activists to condemn what
society at large fears. This volume is about how that expectation has emerged
alongside the normalisation of racism, and how these writers choose to subvert
the expectations raised on them, as part of their commitment to anti-racism.
Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.