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Audiovisual Afterlives: The Soundtrack Of Liberal Nostalgia, Max W. Kaplan
Audiovisual Afterlives: The Soundtrack Of Liberal Nostalgia, Max W. Kaplan
Dissertations, Theses, and Capstone Projects
Following the 2016 American Presidential election, celebrity endorsements proved to be a more narrow gauge of public opinion than ever. The symbolic alignment with popular musicians, which had long abetted the Democratic Party’s standing with youth and particular identity groups, seemed only to reaffirm the party’s establishment status, drawing disavowal in a wave of anti-establishment sentiment on both the left and right. ‘Retromania,’ a term first coined by Simon Reynolds in 2010, can be tracked conceptually from the nostalgic inclinations of twenty-first century popular culture to the ideological sphere, where nostalgic, essentialized constructions of community, identity, and progress have coalesced …
How Marlon T. Riggs Queered The Documentary Form, Anthony M. Sweeney
How Marlon T. Riggs Queered The Documentary Form, Anthony M. Sweeney
Dissertations, Theses, and Capstone Projects
Marlon T. Riggs’s documentary films and their paratextual elements are rooted in his intersectional identities as a Black and gay man. His activist goal of Black gay liberation was based on what he saw as deeply engrained internal and external racist and homophobic societal structures that subjugated Black queers. In this thesis, I place research from Black cultural studies, gender and sexuality studies, and film studies in conversation with one another to show how Riggs’s filmography is an example of queer form. In doing so, I attempt to redefine the focus of the scholarship on Riggs from an avant-garde filmmaker …
The Reflective Age: Nostalgia At The End Of History, Zachary Griffith
The Reflective Age: Nostalgia At The End Of History, Zachary Griffith
Theses and Dissertations--English
This project investigates the ways in which nostalgic American media of the last decade reflects the sociopolitical conditions of the end of history. It begins with the assertion that the end of history represents a confounded, contradictory moment in which large-scale political change is relatively scarce, and belief in a progressive future has largely been abandoned, while cultural change has also accelerated at a pace never before seen––spurred on, in particular, by the constant return of dead styles and dormant IP. In other words, it seems as if nothing is changing and everything is changing simultaneously. The recent boom in …