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“I’M Here To Do Business. I’M Not Here To Play Games.” Work, Consumption, And Masculinity In Storage Wars, Mark A. Rademacher, Casey R. Kelly
“I’M Here To Do Business. I’M Not Here To Play Games.” Work, Consumption, And Masculinity In Storage Wars, Mark A. Rademacher, Casey R. Kelly
Mark A. Rademacher
This essay examines the first season of Storage Wars and suggests the program helps mediate the putative crisis in American masculinity by suggesting that traditional male skills are still essential where knowledge supplants manual labor. We read representations of “men at work” in traditionally “feminine” consumer markets, as a form of masculine recuperation situated within the culture of White male injury. Specifically, Storage Wars appropriates omnivorous consumption, thrift, and collaboration to fit within the masculine repertoire of self-reliance, individualism, and competition. Thus, the program adapts hegemonic masculinity by showcasing male auction bidders adeptly performing feminine consumer practices. Whether the feminine …
Cooking Without Women: The Rhetoric Of The New Culinary Male, Casey R. Kelly
Cooking Without Women: The Rhetoric Of The New Culinary Male, Casey R. Kelly
Casey R. Kelly
Casey Kelly's contribution to Communication and Critical/Cultural Studies, Volume 12, Issue 2.
“I’M Here To Do Business. I’M Not Here To Play Games.” Work, Consumption, And Masculinity In Storage Wars, Mark A. Rademacher, Casey R. Kelly
“I’M Here To Do Business. I’M Not Here To Play Games.” Work, Consumption, And Masculinity In Storage Wars, Mark A. Rademacher, Casey R. Kelly
Casey R. Kelly
This essay examines the first season of Storage Wars and suggests the program helps mediate the putative crisis in American masculinity by suggesting that traditional male skills are still essential where knowledge supplants manual labor. We read representations of “men at work” in traditionally “feminine” consumer markets, as a form of masculine recuperation situated within the culture of White male injury. Specifically, Storage Wars appropriates omnivorous consumption, thrift, and collaboration to fit within the masculine repertoire of self-reliance, individualism, and competition. Thus, the program adapts hegemonic masculinity by showcasing male auction bidders adeptly performing feminine consumer practices. Whether the feminine …