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American Popular Culture (american + popular_culture)

Distribution by Scientific Domains
Humanities and Social Sciences100%

Selected Abstracts

The Myth of the Eastern Front: The Nazi,Soviet War in American Popular Culture , By Ronald Smelser and Edward L. Davies II

HISTORY, Issue 320 2010
MARTIN H. FOLLY
No abstract is available for this article. [source]

Globalization & American Popular Culture by Lane Crothers

THE JOURNAL OF AMERICAN CULTURE, Issue 2 2008
Brian Yost
No abstract is available for this article. [source]

Incorrect Entertainment: Trash from the Past: A History of Political Incorrectness and Bad Taste in the 20th Century American Popular Culture

THE JOURNAL OF POPULAR CULTURE, Issue 5 2008
Robert G. Weiner
No abstract is available for this article. [source]

With Amusement for All: A History of American Popular Culture since 1830

THE JOURNAL OF POPULAR CULTURE, Issue 4 2007
Jeffrey Cass
No abstract is available for this article. [source]

COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD

CULTURAL ANTHROPOLOGY, Issue 1 2010
DAVID NOVAK
ABSTRACT This essay considers the process of remediation in two North American reproductions of the song-and-dance sequence Jaan Pehechaan Ho from the 1965 "Bollywood" film Gumnaam. The song was used in the opening sequence of the 2001 U.S. independent film Ghost World as a familiar-but-strange object of ironic bewilderment and fantasy for its alienated teenage protagonist Enid. But a decade before Ghost World's release, Jaan Pehechaan Ho had already become the lynchpin of a complex debate about cultural appropriation and multicultural identity for an "alternative" audience in the United States. I illustrate this through an ethnographic analysis of a 1994 videotape of the Heavenly Ten Stems, an experimental rock band in San Francisco, whose performance of the song was disrupted by a group of activists who perceived their reproduction as a mockery. How is Bollywood film song, often itself a kitschy send-up of American popular culture, remediated differently for different projects of reception? How do these cycles of appropriation create overlapping conditions for new identities,whether national, diasporic, or "alternative",within the context of transcultural media consumption? In drawing out the "ghost world" of Bollywood's juxtapositions, I argue that the process of remediation produces more than just new forms and meanings of media, but is constitutive of the cosmopolitan subjects formed in its global circulations. [source]

,Mother's Little Helper': The Crisis of Psychoanalysis and the Miltown Resolution

GENDER & HISTORY, Issue 2 2003
Jonathan M. Metzl
This paper examines the discourse surrounding the release in 1955 of Miltown, America's first psychotropic wonder drug. According to many histories of psychiatry, Miltown heralded the arrival of a new paradigm in treating psychiatric patients , as a drug that operated on a neurochemical level, it was argued to replace a psychoanalytic approach with its focus on the mother-child relation. Between 1955 and 1960, articles about pharmaceutical miracle cures for mental illnesses filled mass-circulation news magazines and top fashion magazines. Through analysis of these representations, this article shows how the newly discovered pills came to be associated with existing concerns about conditions problematically referred to as ,maternal conditions,' ranging from a woman's frigidity, to a bride's uncertainty, to a wife's infidelity. Using these representations, the paper demonstrates how in American popular culture, psychoanalytic notions of motherhood prevalent in the 1950s shaped early understandings and uses of psychotropic drugs. [source]

Hybridity in Cultural Globalization

COMMUNICATION THEORY, Issue 3 2002
Marwan M. Kraidy
Hybridity has become a master trope across many spheres of cultural research, theory, and criticism, and one of the most widely used and criticized concepts in postcolonial theory. This article begins with a thorough review of the interdisciplinary scholarship on hybridity. Then it revisits the trope of hybridity in the context of a series of articles on cultural globalization published in the Washington Post in 1998. This series on "American Popular Culture Abroad" appropriates hybridity to describe the global reception of U.S. American popular culture. Due to the controversy surrounding hybridity, the discourse woven into these articles invites a critical deconstruction. A discussion of the implications of hybridity's conceptual ambiguity follows. Finally, this article makes the case that hybridity is a conceptual inevitability, and proposes an intercontextual theory of hybridity, which comprehends global cultural dynamics by articulating hybridity and hegemony, providing an initial theoretical platform for a critical cultural transnationalism. [source]