Angela Howell
Dados Biográficos
| ID | 131502 |
|---|---|
| NOME | Angela Howell |
| PRENOMES | Angela |
| SOBRENOME | Howell |
| ASSINATURA | HOWELL A |
| AFILIAÇÕES | Griffith University |
| ORCID | 0000-0002-9708-8293 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 12 |
| TOTAL DE CITAÇÕES | 17 |
| TOTAL COMO AUTOR | 12 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2000 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2021 |
| ÍNDICE H | 2 |
“I didn’t know if I even really existed. But I do”
Like the Martin Scorsese films to which it is indebted – The King of Comedy (1982), Taxi Driver (1976) and Raging Bull (1980) – Joker (Phillips 2019) dramatises male identity as crisis-ridden and a matter of performance and emulation. Arguing for Joker as being concerned not just with masculinity but also whiteness, this discussion focuses on the role of music, dance, and ideologies of entertainment in the performative self-creation of Arthur Fle…
Vampire nostalgia
Nostalgia (nostos ‘return home’ plus algia ‘longing’), first diagnosed and named in the seventeenth century, was a disease that, as Svetlana Boym points out, became less curable and more mysterious in its pathology as time passed, resistant to reason and Enlightenment in the eighteenth and nineteenth centuries. As an ‘historical emotion’ that ‘came of age’ with Romanticism and mass culture, nostalgia has continued to spread in this century, shapi…
Introduction
The list of top-grossing films since the turn of the millennium is almost entirely dominated by genres of the fantastic – including fantasy, horror, speculative fictions, fairy-tales, sci-fi and superhero franchises. This is not entirely surprising in the world of blockbuster filmmaking,\nwhere fantasy genres have recurrently featured in the top 10 box office worldwide since the 1970s. The reach of such genres, however, currently goes well beyond…
Breaking silence, bearing witness, and voicing defiance
With the recent success of HULU’s video-on-demand adaptation of The Handmaid’s Tale and widespread use of its imagery by political action groups like the Handmaid Coalition, The Handmaid’s Tale has become a transmedia property whose dystopian storyworld extends beyond the bounds of any single text. Spanning old and new media, the fictional and real, its storyworld, the Gileadverse, is comprised of authorized entertainment products, as well as fan…
Son of Saul and the ethics of representation
Taking László Nemes' film Son of Saul (2015) as both an aesthetic intervention into the public remembering of the Holocaust and as a critical/creative essay on representations of the horrors of war and violence more generally, this paper considers its use of the image and idea of the dead child-the child victim-and its ability to move, to communicate, to galvanise action, to seemingly cut through the chaos of communication. A figure presented as …
The Ethics of Troubled Images
This special issue of Cultural Studies Review brings together an interdisciplinary range of scholarship to investigate the ethical implications of troubled images
Apocalypse Rock and the Auteur Mélomane
The Rolling Stones’ song “Gimme Shelter” speaks musically and lyrically to apocalyptic beliefs underpinning countercultural representations of the 1960s, accruing additional layers of meaning via its various screen roles. This discussion focuses on its use in Martin Scorsese’s GoodFellas (1990), Casino (1995), and The Departed (2006). Portending narrative disaster while replaying Scorsese’s formative relationship with the Stones’ music, in these …
Our National Obsession with Toddlers and Tiaras
Additional informationNotes on contributorsAngela HowellAngela Howell is a cultural anthropologist and assistant professor at Morgan State University who specializes in African American identity, youth culture, and education. Her forthcoming book, Raised Up Down Yonder: Growing Up Black in Rural Alabama (University Press of Mississippi 2013), explores the everyday lives of young African Americans who live in a small Black Belt town
President-elect Obama
‘If we hear any inspirational power chords …’
Buffy: ‘I'm just worried this whole session is going to turn into some training montage from an 80s movie’ Giles: ‘Well, if we hear any inspirational power chords, we'll just lie down until they go away.’ (‘Once More, With Feeling’, Buffy the Vampire Slayer, 2001)
Future aspirations of urban adolescents
Recognizing the importance future aspirations play in the developmental outcomes of adolescents, this study illuminates the role that individual and contextual factors play in the formation of future aspirations among urban youth. The data for this study were collected prior to the implementation of an intervention program at an urban high school. Focus groups, questionnaires, goal maps and a group identity collage were employed to solicit the pe…
The X-Files, X-Philes and X-Philia
This paper surveys the representation of The X-Files Internet fandom in order to show how the structural positioning of television fans is altered by Internet technology and culture. Additionally, the representation of fans in promotional materials and the series itself, when considered in light of the conflicts between fans and Fox, highlights the difficulties Fox has had in translating its promotional strategies to the Internet
Future aspirations of urban adolescents
Recognizing the importance future aspirations play in the developmental outcomes of adolescents, this study illuminates the role that individual and contextual factors play in the formation of future aspirations among urban youth. The data for this study were collected prior to the implementation of an intervention program at an urban high school. Focus groups, questionnaires, goal maps and a group identity collage were employed to solicit the pe…
Breaking silence, bearing witness, and voicing defiance
With the recent success of HULU’s video-on-demand adaptation of The Handmaid’s Tale and widespread use of its imagery by political action groups like the Handmaid Coalition, The Handmaid’s Tale has become a transmedia property whose dystopian storyworld extends beyond the bounds of any single text. Spanning old and new media, the fictional and real, its storyworld, the Gileadverse, is comprised of authorized entertainment products, as well as fan…
President-elect Obama
The X-Files, X-Philes and X-Philia
This paper surveys the representation of The X-Files Internet fandom in order to show how the structural positioning of television fans is altered by Internet technology and culture. Additionally, the representation of fans in promotional materials and the series itself, when considered in light of the conflicts between fans and Fox, highlights the difficulties Fox has had in translating its promotional strategies to the Internet
‘If we hear any inspirational power chords …’
Buffy: ‘I'm just worried this whole session is going to turn into some training montage from an 80s movie’ Giles: ‘Well, if we hear any inspirational power chords, we'll just lie down until they go away.’ (‘Once More, With Feeling’, Buffy the Vampire Slayer, 2001)
Future aspirations of urban adolescents
Recognizing the importance future aspirations play in the developmental outcomes of adolescents, this study illuminates the role that individual and contextual factors play in the formation of future aspirations among urban youth. The data for this study were collected prior to the implementation of an intervention program at an urban high school. Focus groups, questionnaires, goal maps and a group identity collage were employed to solicit the pe…
President-elect Obama
Our National Obsession with Toddlers and Tiaras
Additional informationNotes on contributorsAngela HowellAngela Howell is a cultural anthropologist and assistant professor at Morgan State University who specializes in African American identity, youth culture, and education. Her forthcoming book, Raised Up Down Yonder: Growing Up Black in Rural Alabama (University Press of Mississippi 2013), explores the everyday lives of young African Americans who live in a small Black Belt town
Apocalypse Rock and the Auteur Mélomane
The Rolling Stones’ song “Gimme Shelter” speaks musically and lyrically to apocalyptic beliefs underpinning countercultural representations of the 1960s, accruing additional layers of meaning via its various screen roles. This discussion focuses on its use in Martin Scorsese’s GoodFellas (1990), Casino (1995), and The Departed (2006). Portending narrative disaster while replaying Scorsese’s formative relationship with the Stones’ music, in these …
Son of Saul and the ethics of representation
Taking László Nemes' film Son of Saul (2015) as both an aesthetic intervention into the public remembering of the Holocaust and as a critical/creative essay on representations of the horrors of war and violence more generally, this paper considers its use of the image and idea of the dead child-the child victim-and its ability to move, to communicate, to galvanise action, to seemingly cut through the chaos of communication. A figure presented as …
The Ethics of Troubled Images
This special issue of Cultural Studies Review brings together an interdisciplinary range of scholarship to investigate the ethical implications of troubled images
Introduction
The list of top-grossing films since the turn of the millennium is almost entirely dominated by genres of the fantastic – including fantasy, horror, speculative fictions, fairy-tales, sci-fi and superhero franchises. This is not entirely surprising in the world of blockbuster filmmaking,\nwhere fantasy genres have recurrently featured in the top 10 box office worldwide since the 1970s. The reach of such genres, however, currently goes well beyond…
Breaking silence, bearing witness, and voicing defiance
With the recent success of HULU’s video-on-demand adaptation of The Handmaid’s Tale and widespread use of its imagery by political action groups like the Handmaid Coalition, The Handmaid’s Tale has become a transmedia property whose dystopian storyworld extends beyond the bounds of any single text. Spanning old and new media, the fictional and real, its storyworld, the Gileadverse, is comprised of authorized entertainment products, as well as fan…
“I didn’t know if I even really existed. But I do”
Like the Martin Scorsese films to which it is indebted – The King of Comedy (1982), Taxi Driver (1976) and Raging Bull (1980) – Joker (Phillips 2019) dramatises male identity as crisis-ridden and a matter of performance and emulation. Arguing for Joker as being concerned not just with masculinity but also whiteness, this discussion focuses on the role of music, dance, and ideologies of entertainment in the performative self-creation of Arthur Fle…
Vampire nostalgia
Nostalgia (nostos ‘return home’ plus algia ‘longing’), first diagnosed and named in the seventeenth century, was a disease that, as Svetlana Boym points out, became less curable and more mysterious in its pathology as time passed, resistant to reason and Enlightenment in the eighteenth and nineteenth centuries. As an ‘historical emotion’ that ‘came of age’ with Romanticism and mass culture, nostalgia has continued to spread in this century, shapi…
Art (9 obras) · Aesthetics (8 obras) · Sociology (7 obras) · Literature (6 obras) · Media studies (6 obras) · Law (5 obras) · Political science (5 obras) · Psychology (5 obras) · Digital Games and Media (3 obras) · Law (3 obras)