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Joanne Hollows

5 Soap operas and their audiences Just as romances and their readers have been treated as objects of derision and contempt, so soap operas and their viewers have had a hostile response from cultural critics. Indeed, even the pioneers of cultural studies, such as Raymond Williams, who wished to treat popular culture as worthy of serious analysis, found it easy to dismiss soap opera (Modleski 1984, 12-13). More recently soap operas and their viewers have been subject to the same process of recuperation by feminist critics that was evident in the analysis of

in Feminism, Femininity and Popular Culture
Brian Lewis

2 Soft soap and soap operas There’s no damn difference between soaps In The Hucksters, his 1946 potboiler about the American advertising industry, Frederic Wakeman created the character of ‘Beautee Soap’ magnate Evan Llewelyn Evans. At one point, Evans, known as the Old Man by his subordinates, lectures newly recruited ad man Victor Norman: I’ll tell you a secret about the soap business, Mr. Norman. There’s no damn difference between soaps. Except for perfume and color, soap is soap. Oh, maybe we got a few manufacturing tricks, but the public don’t give a damn

in ‘So clean’
Brookside, Cracker, Hearts and Minds, The Lakes
Steve Blandford

Soaps, series and serials: Brookside, Cracker, Hearts and Minds, The Lakes 1 This chapter draws together work that is, in many ways, highly disparate both in terms of style and relationship to genre. All the programmes are, however, linked by belonging to a form that employs features of the television serial, particularly the flow of narrative across different episodes. Though spanning almost a decade, the programmes provide a very full picture of the period of McGovern’s development as a writer from his first break into television on Brookside up until the

in Jimmy McGovern
Brian Lewis

1 The Napoleon of soap Et lux perpetua He died from pneumonia on 7 May 1925 at his home on Hampstead Heath, aged seventy-four. ‘The career of Lord Leverhulme bristles with dramatic values that will prove an embarrassment of riches for his biographer,’ wrote an obituarist in the New York Evening Post. His career from obscurity to industrial command and affluence has challenged and allured Americans. They liked his rapid-fire, militant decisiveness, the extensive sweep and intensive development of his far-flung enterprises, the wide range of his hobbies outside

in ‘So clean’
Joachim Neander

During the Second World War and its aftermath, the legend was spread that the Germans turned the bodies of Holocaust victims into soap stamped with the initials RIF, falsely interpreted as made from pure Jewish fat. In the years following liberation, RIF soap was solemnly buried in cemeteries all over the world and came to symbolise the six million killed in the Shoah, publicly showing the determination of Jewry to never forget the victims. This article will examine the funerals that started in Bulgaria and then attracted several thousand mourners in Brazil and Romania, attended by prominent public personalities and receiving widespread media coverage at home and abroad. In 1990 Yad Vashem laid the Jewish soap legend to rest, and today tombstones over soap graves are falling into decay with new ones avoiding the word soap. RIF soap, however, is alive in the virtual world of the Internet and remains fiercely disputed between believers and deniers.

Human Remains and Violence: An Interdisciplinary Journal
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

, Bojeffries has been published across a variety of formats. The temptation is to speculate that Moore’s work at Warrior was subject to a Gothic curse that has prevented much of it from being republished in accessible formats. 4 Subtitled ‘a soap opera of the paranormal’, the Saga introduced the eccentric Bojeffries family who live in a council house for which they have not

in Alan Moore and the Gothic Tradition
A new platform for young Arabs
Yves Gonzalez-Quijano

growth of the Arab Internet, so that social networks – which originally were anything but political tools – are now bringing about another turning point in the cultural habits of the region. Gone is the era of watching TV soaps and series, a quasi-religious ritual, which had become closely linked to the social rhythm of the month of Ramadan: after breaking the daily fast, families and neighbours spent

in Arab youths
The articulation of ideology andmelodrama in Czechoslovak communist television serials, 1975–89
Irena Carpentier Reifová
,
Petr Bednařík
, and
Šimon Dominik

6 Between politics and soap: The articulation of ideology and melodrama in Czechoslovak communist television serials, 1975–891 Irena Carpentier Reifová, Petr Bednařík and Šimon Dominik During the period of Czechoslovak normalisation2 (1969–89), an important centre of everyday life was the private living room. As David Morley claims, home territories are far from being innocent, neutral spaces isolated from social and political processes (Morley, 2000). The family living room, decorated with floral curtains, plush coverings and wavering bluish light from an old

in Popular television in authoritarian Europe
Anandi Ramamurthy

This chapter will explore the effect of the specific material interests of soap manufacturers, their consumers, and the general political climate of the period on the representation of black people. While soap was by no means the only product which represented Empire and black people in late nineteenth-century advertising, soap companies made the most extensive use of

in Imperial persuaders
Open Access (free)
A Belated but Welcome Theory of Change on Mental Health and Development
Laura Davidson

. Soap and hand-sanitisers are important weapons against COVID-19, yet 33 per cent of those in rural India have no access to soap after toilet use, and even in urban areas almost 14 per cent of the population does not have both bathroom and toilet within the household premises ( Government of India, National Sample Survey Office, 2018 : 38). Lingam and Sapkal (2020 : 177) identified poverty as a key pandemic mortality factor spanning three differentials: exposure

Journal of Humanitarian Affairs