culture

Below is a three part essay I presented at the 2012 Southwest Texas Popular Culture Association meetings in Albuquerque, New Mexico on February 9th. It was presented as part of a series of panels titled “The Apocalypse in Popular Culture.” A (much) earlier version of this paper can be found on the Sociological Images sister blog.


THE ZOMBIE IN FILM: FROM HAITIAN FOLKLORE TO APOCALYPTIC ANXIETIES

If you are alive these days, and not already part of the undead masses yourself, you probably have noticed a staggering increase of zombie references in film, television, pop culture, videogames and the internet.For instance, the big screen and small screen have both hosted a plethora of zombie films including the more popular blockbusters 28 Days Later (2002), Shaun of the Dead (2004), and I Am Legend (2007). In television, we have seen the recent success of AMC’s The Walking Dead, based on the comic book series of the same name. In pop culture, we have seen the viral video of penitentiary inmates dancing to Michael Jackson’s “Thriller” and even the popular television sitcom Glee host its own rendition of the dance. And if you are on a college campus like myself, you have probably seen undergraduates playing “Zombies Vs. Humans,” a game of tag in which “human” players must defend against the horde of “zombie” players by “stunning” them with Nerf weapons and tube socks. In videogames, we have seen the success of the Resident Evil franchise, eventually culminating in a series of films staring Mila Jovovich, as well as more recent games like Left 4 Dead and Dead Rising. Finally, the internet is awash with zombie culture. From post-apocalyptic zombie societies to zombie fansites and blogs.
The Annual "Zombie Walk" in Pittsburgh, PA, birthplace of the famed zombie director George Romero.

Below is Part 1 of a three part essay I will be presenting at the 2012 Southwest Texas Popular Culture Association meetings in Albuquerque, New Mexico on February 9th. I will be presenting alongside several other scholars for a series of panels titled “The Apocalypse in Popular Culture.” A (much) earlier version of this paper can be found on the Sociological Images sister blog. Part 1 discusses the first wave of zombie cinema 1920-1950s.

The Zombie in Film: From Haitian Folklore to Apocalyptic Anxieties

If you are alive these days, and not already part of the undead masses yourself, you probably have noticed a staggering increase of zombie references in film, television, pop culture, videogames and the internet.
For instance, the big screen and small screen have both hosted a plethora of zombie films including the more popular blockbusters 28 Days Later (2002), Shaun of the Dead (2004), and I Am Legend (2007). In television, we have seen the recent success of AMC’s The Walking Dead, based on the comic book series of the same name. In pop culture, we have seen the viral video of penitentiary inmates dancing to Michael Jackson’s “Thriller” and even the popular television sitcom Glee host its own rendition of the dance. And if you are on a college campus like myself, you have probably seen undergraduates playing “Zombies Vs. Humans,” a game of tag in which “human” players must defend against the horde of “zombie” players by “stunning” them with Nerf weapons and tube socks. In videogames, we have seen the success of the Resident Evil franchise, eventually culminating in a series of films staring Mila Jovovich, as well as more recent games like Left 4 Dead and Dead Rising. Finally, the internet is awash with zombie culture. From post-apocalyptic zombie societies to zombie fansites and blogs.
The Annual "Zombie Walk" in Pittsburgh, PA, birthplace of the famed zombie director George Romero.
But what is the zombie and where does it come from? more...

Photo by Howard Schatz

My post today comes from a class on ableism and disabled bodies that I taught earlier this past semester in my Social Problems course. Its inception came from the point at which I wanted to introduce my students to Donna Haraway’s concept of cyborgs, because I saw some useful connections between one and the other.

My angle was to begin with the idea of able-bodied society’s instinctive, gut-level sense of discomfort and fear regarding disabled bodies, which is outlined in disability studies scholar Fiona Kumari Campbell’s book Contours of Ableism. Briefly, Campbell distinguishes between disableism, which are the set of discriminatory ideas and practices that construct the world in such a way that it favors the able-bodied and marginalizes the disabled, and ableism, which is the set of constructed meanings that set disabled bodies themselves apart as objects of distaste and discomfort. In this sense, disabled bodies are imbued with a kind of queerness – they are Other in the most physical sense, outside and beyond accepted norms, unknown and unknowable, uncontrollable, disturbing in how difficult they are to pin down. Campbell identifies this quality of unknowability and uncontainability as especially, viscerally horrifying.

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Photo Credits: (From left to right) Candice Borden, epicmealtime.com, and osandstrom.com

Since you are probably going to spend today arguing about Occupy Wall Street with your conservative family members and helping your parents with computer questions we figured you would appreciate some slightly ligher fare: internet cooking shows. But because we are social scientists, we can’t be satisfied with uncritical review. Therefore, I want to discuss how these cooking shows interact with, perform, reify, and probelmitize constructions of gender and nationality. The three shows I want to cover (I’m gonna have to pass on this and this. There’s a great article at dailydot.com that lists most internet cooking shows.) are Epic Meal Time, Regular Ordinary Swedish Meal Time, and My Drunk Kitchen. Full disclosure: I have a profound weakness for all of these shows, with increasing affinity in the order I just presented them. In case you’re unfamiliar with these shows, I’ll briefly introduce them and then get into the theory. [Images after the break might be considered NSFW.] more...

Crossposted at Sociological Images

I am a huge fan of the television series “It’s Always Sunny in Philadelphia,” but I want to problematize some of the humor we often take for granted in the show. In a recent interview with Conan O’Brien, Charlie Day discusses some of the changes introduced into the current season of the show. Specifically, about 1:30 in, they discuss the weight gain that Rob McElhenney (“Fat Mac”) accomplished in pursuit of a “funnier” character. Notice how Charlie Day and Conan laugh—freely and unapologetically—at the prospect of Mac contracting diabetes (especially Conan’s mocking “Go America!” response to the image of “Fat Mac”): more...

 

Photo: PJ Rey

 

A discussion of Burning Man may, at first, seem out of place on a technology blog; however, as sociologist Fred Turner has previously observed, the ideology of Burner culture is profoundly co-implicated with the prevailing ideology of Web.  It is more than mere coincidence that this particular festival has exploded in proximity to Silicon Valley.  It is also more than coincidence that Google and other tech company virtually shut down during this event.  The week-long temporary city in a desert attracts people from around the world. The community is founded upon the (seemingly paradoxical) principals of “radical self-reliance” and “communal effort.” For a week, Burners collectively construct a festive atmosphere that separates themselves from the institutions and customs of their everyday lives. There is a vibrant gift economy with a focus on the decommodification of goods and services (though, of course, like the Internet, much money changes hands behind the scenes: for infrastructure, transport, illicit ticket sales, drugs, etc.). Everyone is encouraged to participate in all aspects of the community (to “prosume” their surroundings), and in doing so, to reach a better understanding of self. This is all embodied in the Ten Principles of Burning Man. more...