The Mainstream Cult of Fifty Shades of Grey
Hailing Multiple Women Audiences
Datos Bibliográficos
| ID | 12918401 |
|---|---|
| Autores | Dana Och (Department of English, Film and Media Studies, Pittsburgh, PA 15260, USA, autor de correspondencia) |
| Año | 2019 |
| Volumen | 12 |
| Número | 2 |
| Páginas | 213-229 |
| Fecha de publicación | 2019-04-24 |
| Peer Reviewed | Sí |
| Open Access | Sí |
| Tipo | ARTICLE |
| Revista | Communication Culture and Critique (JOURNAL) |
| Identificadores de la revista | ISSN: 1753-9137 • E-ISSN: 1753-9129 |
| Editorial | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/ccc/tcz017 |
| OpenAlex | W2944282232 |
| Idioma | EN |
| Citas recibidas | 2 |
| Referencias citadas | 7 |
Fifty Shades of Grey (FSOG) is argued to be a female-focused mainstream cult film that deliberately fosters a simultaneity of viewing modes. This multiple address highlights how the lauded qualities of cult texts are standard in feminine narratives that need to appeal to a large cross section of women. Cult discourse still depends on misogyny and masculinized distinction even when the mainstream mode seems to break down gendered fandom. Contradictions emerge because cult was traditionally defined against the mindless consuming of women. However, the cultish consumption patterns for FSOG are deliberately fostered by merchandising strategies. Thus, the same element that shows cult tendencies is used to denigrate the film as the antithesis of cult: women as consumers
Aesthetics · Antithesis · Art · Cult · Fandom · Literature · Mainstream · Media studies · Narrative · Political science · Sociology · Gender, Feminism, and Media · Media, Gender, and Advertising · Sexuality, Behavior, and Technology · Law
| Obras citantes distintas | 2 |
|---|---|
| Citas por año | 1 |
| Intervalo de citas | 2024 - 2026 (3) |
| Velocidad de citación | current |
| Altamente citado | No |
| Tipos de cita | Neutras: 1 |