I fired my second editor in 2016 after 10 years, and I asked: “Why are you changing my book and putting in voices he supposedly is hearing in his head like a schizophrenic?” Louise responded, “Well he would have to have been crazy to carve up those women in that way.” I resonated “If he was a schizophrenic, then I’m a schizophrenic, you’ve been brainwashed by social media, he was a killer!” Then I hired my third editor/proofreader, Harold Winberg, who translated technical instruction manuals into six languages. I knew he would pay close attention to details and not change, or distort the message. To understand one’s psyche, as a trained psychologist I know, you have to start at the true beginning. You can’t just jump into London 1888 during the Jack the Ripper murders and begin chapter 1 there because it’s thrilling, at first glance he would appear a deranged psychopath, at the least. John or Jack was already a skilled horse slaughterer at age 17, he could slit the throat and sever the vocal cords of horses with a sharp knife – a silent killer. Oh, a knife, The Ripper, why is a knife so much scarier than a gun? Because it’s personal and intimate.
I fired my second editor in 2016 after 10 years, and I asked: “Why are you changing my book and putting in voices he supposedly is hearing in his head like a schizophrenic?” Louise responded, “Well he would have to have been crazy to carve up those women in that way.” I resonated “If he was a schizophrenic, then I’m a schizophrenic, you’ve been brainwashed by social media, he was a killer!” Then I hired my third editor/proofreader, Harold Winberg, who translated technical instruction manuals into six languages. I knew he would pay close attention to details and not change, or distort the message. To understand one’s psyche, as a trained psychologist I know, you have to start at the true beginning. You can’t just jump into London 1888 during the Jack the Ripper murders and begin chapter 1 there because it’s thrilling, at first glance he would appear a deranged psychopath, at the least. John or Jack was already a skilled horse slaughterer at age 17, he could slit the throat and sever the vocal cords of horses with a sharp knife – a silent killer. Oh, a knife, The Ripper, why is a knife so much scarier than a gun? Because it’s personal and intimate.
Winner of the 2009 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award The Midwest of popular imagination is a "Heartland" characterized by traditional cultural values and mass market dispositions. Whether cast positively —; as authentic, pastoral, populist, hardworking, and all-American—or negatively—as backward, narrow–minded, unsophisticated, conservative, and out-of-touch—the myth of the Heartland endures. Heartland TV examines the centrality of this myth to television's promotion and development, programming and marketing appeals, and public debates over the medium's and its audience's cultural worth. Victoria E. Johnson investigates how the "square" image of the heartland has been ritually recuperated on prime time television, from The Lawrence Welk Show in the 1950s, to documentary specials in the 1960s, to The Mary Tyler Moore Show in the 1970s, to Ellen in the 1990s. She also examines news specials on the Oklahoma City bombing to reveal how that city has been inscribed as the epitome of a timeless, pastoral heartland, and concludes with an analysis of network branding practices and appeals to an imagined "red state" audience. Johnson argues that non-white, queer, and urban culture is consistently erased from depictions of the Midwest in order to reinforce its "reassuring" image as white and straight. Through analyses of policy, industry discourse, and case studies of specific shows, Heartland TV exposes the cultural function of the Midwest as a site of national transference and disavowal with regard to race, sexuality, and citizenship ideals.
Explains the key concepts, theories, and studies in the sociology of the arts—the fully updated new edition of the classic textbook Sociology of the Arts is a comprehensive yet accessible review of sociological approaches to studying the fine, popular, and folk arts. Integrating scholarly literature, theoretical models, and empirical studies, this authoritative textbook provides balanced coverage of a broad range of essential topics—enabling a deeper understanding of the field as a whole. Throughout the text, numerous real-world case studies reinforce key concepts, stimulate classroom discussion, and encourage students to contemplate abstract theoretical issues central to the relationship between art and society. Now in its second edition, this bestselling volume features fully revised content that reflects the most recent literature and research in the field. New discussion on the production and the consumption of culture are complemented by fresh perspectives on changes in the social world such as the rise of the internet and digital media. Updated chapters offer insights into social boundaries and embodiment in the arts, emplacement, materiality, the social construction of art and aesthetics, and more. Exploring how art is created, distributed, received, and consumed, this textbook: Explores both classic work and new approaches in the sociology of the arts Features case studies and discussion questions on art forms including popular music, film, romance novels, visual arts, and classical music Discusses the meaning of artistic objects and why interpretations of art vary Examines the ways art intersects with race, gender, sexuality, and class Includes photographs, tables and figures, and a comprehensive reference list Written by a leading scholar in the field, Sociology of the Arts: Exploring Fine and Popular Forms, Second Edition is an ideal textbook for advanced undergraduate and graduate courses on sociology of art and culture, media studies, anthropology of art, arts management, and the social history of art, and is a useful reference for established scholars studying any aspect of sociology of the arts.
The project on which the book was based synthesized all the major available sources of information on English archaeology for the period from 1500 BC to AD 1086, providing an overview of the history of the English landscape from the Bronze Age to the Norman invasion. The result is the first account of the English landscape over a crucial 2500-year period when people created many of the features still visible today. It also provides a celebration of many centuries of archaeological work, especially the intensive investigations that have taken place since the 1960s, when frequent large-scale work has transformed our understanding of England's past"--Publisher's description.
Elizabeth Bishop's Poetics of Intimacy, a biographical and critical study of one of the great poets of this century, offers a fresh look at Bishop's published and unpublished writing over the course of her career. Informed by pragmatic, post-modern, and feminist theories, Victoria Harrison's study also makes extensive use of Bishop's archives, many pieces of which have never been discussed, to reveal the process of the poet's writing. Harrison explores Bishop's childhood memoirs, journals, letters, Brazilian travel prose, unfinished poems, and draft material, researching dates of undated material and reproducing Bishop's revisions, cancellations, and idiosyncratic spellings. Attentiveness to the detail of this archival writing gives Harrison a broad foundation for arguing that Bishop treats some of our largest concerns - family relationships, sexuality, war, and cultural differences - within poetry and prose that are intimate but not self-revelatory and daily but never ordinary. Elizabeth Bishop charges the moments of her writing with the desires, fears, and passions of her life.
StrongTelevision Criticism /strongpresents a four-part original treatment of television criticism with a foundational approach to the nature of criticism. Readers gain an understanding of the business of television, production background in creating television style, and are presented with in-depth chapters on storytelling, narrative theories and television genres.
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