S A Wilder
Biographic Data
| ID | 6253948 |
|---|---|
| NAME | S A Wilder |
| GIVEN NAMES | S A |
| FAMILY NAME | Wilder |
| SIGNATURE | WILDER S A |
| AFFILIATIONS | Georgia State University |
| ORCID | 0000-0003-0724-1256 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Engineered instability
This article examines Leave It to Beaver (1957–63) as a key site for understanding how mid-century American television engineered domestic stability through carefully managed narrative disorder. Building on scholarship on genre, industry and Cold War domestic ideology, the article introduces the concept of engineered instability to describe how the family sitcom relied on recurrent, low-stakes disruptions to reaffirm the suburban nuclear family a…
Aged faces and final resting places
Exploring Agnès Varda’s The Gleaners & I (2000) and Faces/Places (2017) through Theodor Adorno and Edward Said’s concepts of late style, this article examines how these films express Varda’s awareness of her aging and physical decline. As a theme central to these documentaries, she engages with mortality as an inevitable part of creativity. In contrast to the defiance and turbulence associated with Adorno’s conception of late style, Varda embrace…
Powers of an old dog
‘No one can survive in that water.’ It is hardly commonplace that a line of expository dialog in a narrative television series thoroughly unrelated to the vicissitudes of cinematic production should offer so perfect a metaphor for navigating a filmmaking career as this. Still, that line, delivered in the first episode of Top of the Lake (2013-2017), does just that. If anything, it is difficult to imagine a more effective manner of characterizing …
Children of the vampire
The Land of Wolves
The revolutionary subject
This article’s title originates from a line spoken by a revolutionary towards the end of the film Red Army/PFLP: Declaration of World War. Like the film born of the collaboration of politically radical Japanese experimental filmmakers and revolutionaries, this examination concerns revolution itself as a film subject. More specifically, it interrogates this film as a revolutionary tool and the limitations thereof, as well as revolution and revolut…
All the (West)World’s a Stage
With roots in an earlier film about well-heeled human guests in an android-populated theme park modeled after an Old West experience, Westworld is a recent offering in HBO's ongoing pursuit of quality television. Combining Western and science-fiction elements, its intertextual relationship to genre is unusually foregrounded. This intertextuality takes on added dimensions in its more recent adaptation. Furthermore, as an ongoing television program…
A baadasssss song
In the 1990s, a shorthand for hardcore pornography proliferated in American popular discourse. This sonic signifier tends to be spoken or written as ‘bow-chicka-bow-wow’. The phrase’s likely source is the wah pedal. Embraced by guitarists in the late 1960s, the wah pedal proved influential to the then-emerging funk genre. That wah-influenced phrase persists as a porn descriptor due to the intersection of the introduction of hardcore pornographic …
Sentimental journey? The drifting rhythms of Tsai Ming-liang’s Journey to the West
With his experimental short, Journey to the West , Tsai Ming-liang creates a cinematic experience that recalls the early ‘cinema of attractions’, but this is an attraction with a twist. As a spectacle, it is more specular than spectacular. An attraction without the attendant excitement, his is a reflection that presents a provocation. By calling out the shortened attention span of contemporary life, Tsai identifies the level of distraction that c…
Deucetopia? Mapping spatio-temporalities in HBO’s The Deuce
Set during the burgeoning of theatrically exhibited hardcore pornography and the concomitant transformations of sex work in New York’s Times Square, HBO series The Deuce presents a fictionalized account of these transformations. The attention paid to the series thus far has analyzed it in narrative terms. By instead foregrounding the neighbourhood that provides the series with its title and analyzing The Deuce spatio-temporally – in relation to i…
No prominent works on this page.
Sentimental journey? The drifting rhythms of Tsai Ming-liang’s Journey to the West
With his experimental short, Journey to the West , Tsai Ming-liang creates a cinematic experience that recalls the early ‘cinema of attractions’, but this is an attraction with a twist. As a spectacle, it is more specular than spectacular. An attraction without the attendant excitement, his is a reflection that presents a provocation. By calling out the shortened attention span of contemporary life, Tsai identifies the level of distraction that c…
Deucetopia? Mapping spatio-temporalities in HBO’s The Deuce
Set during the burgeoning of theatrically exhibited hardcore pornography and the concomitant transformations of sex work in New York’s Times Square, HBO series The Deuce presents a fictionalized account of these transformations. The attention paid to the series thus far has analyzed it in narrative terms. By instead foregrounding the neighbourhood that provides the series with its title and analyzing The Deuce spatio-temporally – in relation to i…
A baadasssss song
In the 1990s, a shorthand for hardcore pornography proliferated in American popular discourse. This sonic signifier tends to be spoken or written as ‘bow-chicka-bow-wow’. The phrase’s likely source is the wah pedal. Embraced by guitarists in the late 1960s, the wah pedal proved influential to the then-emerging funk genre. That wah-influenced phrase persists as a porn descriptor due to the intersection of the introduction of hardcore pornographic …
The revolutionary subject
This article’s title originates from a line spoken by a revolutionary towards the end of the film Red Army/PFLP: Declaration of World War. Like the film born of the collaboration of politically radical Japanese experimental filmmakers and revolutionaries, this examination concerns revolution itself as a film subject. More specifically, it interrogates this film as a revolutionary tool and the limitations thereof, as well as revolution and revolut…
All the (West)World’s a Stage
With roots in an earlier film about well-heeled human guests in an android-populated theme park modeled after an Old West experience, Westworld is a recent offering in HBO's ongoing pursuit of quality television. Combining Western and science-fiction elements, its intertextual relationship to genre is unusually foregrounded. This intertextuality takes on added dimensions in its more recent adaptation. Furthermore, as an ongoing television program…
The Land of Wolves
Children of the vampire
Engineered instability
This article examines Leave It to Beaver (1957–63) as a key site for understanding how mid-century American television engineered domestic stability through carefully managed narrative disorder. Building on scholarship on genre, industry and Cold War domestic ideology, the article introduces the concept of engineered instability to describe how the family sitcom relied on recurrent, low-stakes disruptions to reaffirm the suburban nuclear family a…
Aged faces and final resting places
Exploring Agnès Varda’s The Gleaners & I (2000) and Faces/Places (2017) through Theodor Adorno and Edward Said’s concepts of late style, this article examines how these films express Varda’s awareness of her aging and physical decline. As a theme central to these documentaries, she engages with mortality as an inevitable part of creativity. In contrast to the defiance and turbulence associated with Adorno’s conception of late style, Varda embrace…
Powers of an old dog
‘No one can survive in that water.’ It is hardly commonplace that a line of expository dialog in a narrative television series thoroughly unrelated to the vicissitudes of cinematic production should offer so perfect a metaphor for navigating a filmmaking career as this. Still, that line, delivered in the first episode of Top of the Lake (2013-2017), does just that. If anything, it is difficult to imagine a more effective manner of characterizing …
Cinema and Media Studies (8 works) · Art (6 works) · Literature (5 works) · Gothic Literature and Media Analysis (4 works) · History (4 works) · Law (4 works) · Philosophy (4 works) · Political science (4 works) · Aesthetics (3 works) · Art history (3 works)