The Pop Culture Lens is a scholarly podcast hosted by myself and Dr. CarrieLynn Reinhard of Dominican University. In each episode, we seek to offer fresh perspectives on past media as we attempt to determine whether or not it holds any relevance to the contemporary sociocultural experience. We structure the podcast so the format loosely resembles an academic paper, but we present the information in a way that everyone can understand.
Are you a Tolkien nerd? If so, Dr. Martin Barker of Aberystwyth University needs your help with his massive international survey of Lord of The Rings fans. Check out this blog post from Dr. CarrieLynn Reinhard’s site, and learn how you can participate in a huge, international research project.
Are you a Tolkien fan? Did you enjoy the Lord of the Rings films? What do you think of The Hobbit films? Join in with thousands of others and share your thoughts in this massive international survey!
From Dr. Martin Barker, one of the lead researchers on the project, who previously oversaw a similar project on the Lord of the Rings films:
“In December 2014, the most ambitious film audience research project yet undertaken launched. Based on research groups in 46 countries, and operating in over 30 languages, the World Hobbit Project has set itself the challenge of answering a series of difficult research questions.
With minimal research funding (just enough from the UK’s British Academy to create the complex website, multi-language questionnaire and associated database), we are totally dependent on our ability to use online means to reach a wide range of people around the world. Our survey went…
View original post 316 more words
One of my Facebook friends alerted me to the existence of this yesterday, and since I haven’t had much time to put new content up on this here blog, I thought this might be a fun placeholder until I can get some more academically themed content up (which may be happening later this week…we’ll see). It’s a series of R-rated films re-imagined as children’s books, and is the brainchild of Josh Cooley, a storyboard artist for Pixar Studios. So while it’s not necessarily related to academia or anything like that, I think there is still enough of a connection to remix culture to justify linking to it from my humble academic blog. Plus, in addition to being pretty cool, the image below is tangentially related to my thesis research, therefore I think that’s enough reason to share it.
Anyway, if you want to see the rest of the series, just click here. I hope you enjoy, and be sure to stick around for more serious posts, which will be coming your way in the near future. As always, thanks for reading.
This is a revised version of a paper that I originally wrote for a class on New Media and Culture, taught by Dr. Paul Booth at DePaul University in Chicago, IL. Since this was written, Dr. CarrieLynn Reinhard of Dominican University has come on board as a co-author, and we are currently in the process of revising this paper with an eye towards publication. Additionally, we will be presenting a version of this paper at the upcoming CSCA annual conference scheduled to take place April 2 – 6, 2014 in Minneapolis, MN. We are interested in getting feedback on this paper, so we would appreciate any and all comments people might have to offer. However, because this paper is incomplete and not currently published in any journals, we would ask that if you want to quote it or cite it in any way, please contact us for permission first. Thank you.
A COMPUTER BOY OR A COMPUTER GIRL?: ADVENTURE TIME, BMO AND THE NETWORKED SELF
With episodes like “Fionna and Cake” (Season 3, episode 9) or its follow-up “Bad Little Boy” (Season 5, episode 11), the cultish animated series Adventure Time (2010-current) tackles issues of gender head on; by swapping female characters for male characters and vice versa, the show highlights the fact that gender is not fixed, and serves to “underline the arbitrariness of gender and reveal its symbolic as opposed to its biological function” (Morse, 2001, p. 27). This, along with an emphasis on strong female characters like “Marceline and Princess Bubblegum helped make Adventure Time a hit with female viewers, giving girls two distinctive characters to connect with” (Sava, 2013, online). Indeed, “the series becomes something more when it begins to focus on Finn’s relationships with the women around him,” and it conveys lessons through “morality tales that avoid being overly preachy by teaching values in wildly ludicrous circumstances” (Sava, 2013, online). Thus, Adventure Time is able to transcend the notions of gender that are often coded into children’s programming, despite the fact that both of the central characters are male (Jake the dog and Finn the human). Furthermore, the series conforms to Matt Hills’ (2004) definition of cult television in a number of ways, and thus it is also able to cross generational lines as easily as it crosses gender lines.
Today marks the first day of the Doctor Who Theme Week at In Media Res, a MediaCommons project, and the first post is co-curated by myself and Dr. CarrieLynn D. Reinhard of Dominican University. It is shortened version of the presentation we gave at MPCA titled “‘I AM the Doctor’: Polysemic Rhetorical Flexibility and Non-Traditional Audience Reception in Doctor Who,” but features a brand new video component that we conceived of and edited ourselves specifically for this post. You can check it out here, and we invite you to join in the discussion throughout the week. Be sure to tune in all week at IMR to see what other scholars and fans have to say about the cultural impact and legacy of The Doctor.
This is a paper I co-authored with Dr. CarrieLynn Reinhard of Dominican University. We presented it at the Midwest Popular Culture Association conference that took place from Oct 11-13 in St. Louis, MO. We are currently working on expanding the paper and revising it for publication. As always, we welcome any and all feedback on how to improve the paper.
“I AM THE DOCTOR”: POLYSEMIC RHETORICAL FLEXIBILITY AND NON-TRADITIONAL AUDIENCE RECEPTION IN DOCTOR WHO
Taking a methodological stance that combines political economic industry analysis, rhetorical text criticism and audience/reception analysis, this paper is an examination of the historical trajectory of the long-running BBC series Doctor Who focusing on the interplay between the rhetoric of the text and the nature of its audiences. The examination posits that this interplay results from the one influencing the other as the series strives to maintain rhetorical cohesion – retaining a core rhetorical, narrative and aesthetic identity — and sociocultural relevance – building and maintain a loyal viewership upon which its livelihood depends. This balancing act means that changes in the one will elicit changes in the other, with no perfect middle ground yet reached.