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Wrestling With Tv “Rasslin”, Paul Duncum
Wrestling With Tv “Rasslin”, Paul Duncum
Journal of Social Theory in Art Education
TV wrestling stretches the envelope of what art educators might consider legitimate content under the emerging art educational paradigm of visual culture. (Duncum & Bracey, 2001) TV wrestling. Or "rasslin" as it’s known to its audience, is a significant cultural site because it is very popular and, under analysis, has much to say about contemporary cultural experience, especially that of its audience. While it provides pleasures and reference points to its audience, these reference points are often sexist, xenophobic, homophobic, and in terms of familial relationships, dysfunctional. They are also violent and obscene. This paper both acknowledges the lived experience …
Televised Gender Roles In Children’S Media: Covert Messages, Gaye Leigh Green
Televised Gender Roles In Children’S Media: Covert Messages, Gaye Leigh Green
Journal of Social Theory in Art Education
Encountering stereotypes promulgated by media representations is a daily occurrence. Information perpetuated in the media continually influences how people view the world. Female gender roles portrayed in television, for example, have altered from the 1950s stay-at-home mother portrayed by Barbara Billingsley in Leave It To Beaver, to postmodern portrayals of independent actress/mothers such as Jane Seymour. The messages that such diverse personifications suggest of motherhood are equally disparate. While television once perpetuated images of mothers as in the home caregivers, this domestic characterization has evolved into moms who now venture actively into the world.
Violence And Generation X: How The Right Is Managing The Moral Panic Through Television And Teen Films, Jan Jagodzinski
Violence And Generation X: How The Right Is Managing The Moral Panic Through Television And Teen Films, Jan Jagodzinski
Journal of Social Theory in Art Education
The continual "cultural wars" between "Generation X" ("baby busters" whose birth years begin with 1961, aged 11-35), and New Right "baby boomers" (whose birth years range. From 1946 to 1960), around the issue of violence as represented in the popular cultural forms of film and television provide critically concerned art educators with an opportune moment to examine how conservative rhetoric has made "moral panic" an object of current discourses. This highly-charged debate, now literally and symbolically represented by the censorship that "V-chip" technology provides, is explored in this essay from a seemingly non-populist position given the current tide against the …
Feminist Film Theory And Art Education, Michael J. Emme
Feminist Film Theory And Art Education, Michael J. Emme
Journal of Social Theory in Art Education
Every ten years or so, lonely voices make themselves heard in the art education literature shouting something like ‘Pay attention to the “newer media” (Lanier, 1966, p.7), or ‘Have you heard? There a “new image world” (Nadaner, 1985, p.9) out there.’ One writer even suggested that “directed, critical inquiry of [television] will extend knowledge in art and aesthetics and enhance the quality of peoples’ lives (Degge, 1985, p.85) Despite these sporadic exhortations, Jaglom and Gardner’s (1981) observation that “our culture has not yet invented ways of presenting [the mass media] or teaching its structure to children” (p.35) is still true …