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Books on the topic 'Pop culture phenomenon'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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Consult the top 26 books for your research on the topic 'Pop culture phenomenon.'

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1

Margaret, Kramar, ed. Bringing Light to Twilight: Perspectives on a Pop Culture Phenomenon. New York, NY: Palgrave Macmillan, 2011.

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2

Pop painting: Inspiration and techniques from the pop surrealism art phenomenon. Berkeley: Potter/TenSpeed/Harmony, 2016.

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3

Marvel Comics in the 1970s: An issue-by-issue field guide to a pop culture phenomenon. Raleigh, N.C: TwoMorrows Publishing, 2011.

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4

Comtois, Pierre. Marvel Comics in the 1960s: An issue by issue field guide to a pop culture phenomenon. Raleigh, North Carolina: Twomorrows Pub., 2009.

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5

Harvey, Deneroff, ed. Astro Boy and anime come to the Americas: An insider's view of the birth of a pop culture phenomenon. Jefferson, N.C: McFarland & Co., 2009.

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6

Coupland, Douglas. Lara's Book: Lara Croft and the Tomb Raider Phenomenon. Rocklin, Calif: Prima Publishing, 1998.

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7

Fink, Moritz. Understanding The Simpsons. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988316.

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Another book on The Simpsons? you might wonder. Isn’t the yellow cartoon troupe around the eponymous chaotic family somewhat worn-out? Perhaps you even ask yourself whether that nineties’ show is still on the air anyhow. Accolades such as "the best TV show of the twentieth century" or "the longest-running scripted series on American prime-time television" have elevated The Simpsons to the pop culture pantheon, while also suggesting the very vintage character of the program. But the label "The Simpsons" refers not just to a show that seems to belong to a bygone television era, it implies a rich narrative universe, including a set of iconic figures, familiar across continents and generations. Through lens of a transmedia studies, Understanding The Simpsons traces the franchise’s trajectory, from its original conception shaped by alternative media traditions to its astounding, long-lived impact as a cult phenomenon in popular culture. Examining the legacy of online fan forums and bootleg T-shirts from the show’s heyday in the early 1990s, as well as the meaning of The Simpsons in contemporary digital culture, this book demonstrates how one of the most popular comedy series of all time has redefined the intersections between the corporate media and participatory culture – and is alive indeed.

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8

Marsha, McIntosh, ed. Touching the supernatural world: Angels, miracles, and demons. Philadelphia: Mason Crest Publishers, 2006.

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9

The Korean wave: A new pop culture phenomenon. Korea: Korean Culture and Information Service, 2011.

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10

Bringing Light to Twilight: Perspectives on a Pop Culture Phenomenon. Palgrave Macmillan, 2011.

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11

Moe Manifesto The History And Evolution Of A Japanese Pop Culture Phenomenon. Tuttle Shokai Inc, 2014.

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12

It Happens at Comic-Con: Ethnographic Essays on a Pop Culture Phenomenon. McFarland & Company, Incorporated Publishers, 2014.

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13

Oh, Youjeong. Pop City. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755538.001.0001.

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This book examines the use of Korean television dramas and K-pop music to promote urban and rural places in South Korea. Building on the phenomenon of Korean pop culture, the book argues that pop culture-featured place selling mediates two separate domains: political decentralization and the globalization of Korean popular culture. By analyzing the process of culture-featured place marketing, the book shows that urban spaces are produced and sold just like TV dramas and pop idols by promoting spectacular images rather than substantial physical and cultural qualities. The book demonstrates how the speculative, image-based, and consumer-exploitive nature of popular culture shapes the commodification of urban space and ultimately argues that pop-culture-mediated place promotion entails the domination of urban space by capital in more sophisticated and fetishized ways.

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14

(Foreword), Stan Lee, ed. Spider-Man The Icon: The Life and Times of a Pop Culture Phenomenon (Spiderman). Titan Books, 2007.

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15

Spiers, Emily. Pop-Feminist Narratives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820871.001.0001.

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Emily Spiers explores the recent phenomenon of ‘pop-feminism’ and pop-feminist writing across North America, Britain, and Germany. Pop-feminism is characterized by its engagement with popular culture and consumerism; its preoccupation with sexuality and transgression in relation to female agency; and its thematization of intergenerational feminist discord, portrayed either as a damaging discursive construct or as a verifiable phenomenon requiring remediation. Central to this study is the question of theorizing the female subject in a postfeminist neoliberal climate and the role played by genre and narrative in the articulation of contemporary pop-feminist politics. The heightened visibility of mainstream feminist discourse and feminist activism in recent years—especially in North America, Britain, and Germany – means that the time is ripe for a coherent comparative scholarly study of pop-feminism as a transnational phenomenon. Pop-Feminist Narratives constitutes the first attempt to provide such an account of pop-feminism in a manner which takes into account the varied and complex narrative strategies employed in the telling of pop-feminist stories across multiple genres and platforms, including literary fiction, the popular ‘guide’ to feminism, film, music, and the digital.

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16

Marvel Comics in The 1980s: An Issue-By-Issue Field Guide to a Pop Culture Phenomenon. TwoMorrows Publishing, 2015.

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17

Kim, Kyung Hyun. Hegemonic Mimicry. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021803.

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In Hegemonic Mimicry, Kyung Hyun Kim considers the recent global success of Korean popular culture—the Korean wave of pop music, cinema, and television, which is also known as hallyu—from a transnational and transcultural perspective. Using the concept of mimicry to think through hallyu's adaptation of American sensibilities and genres, he shows how the commercialization of Korean popular culture has upended the familiar dynamic of major-to-minor cultural influence, enabling hallyu to become a dominant global cultural phenomenon. At the same time, its worldwide popularity has rendered its Koreanness opaque. Kim argues that Korean cultural subjectivity over the past two decades is one steeped in ethnic rather than national identity. Explaining how South Korea leaped over the linguistic and cultural walls surrounding a supposedly “minor” culture to achieve global ascendance, Kim positions K-pop, Korean cinema and television serials, and even electronics as transformative acts of reappropriation that have created a hegemonic global ethnic identity.

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18

Maslon, Laurence. History Has Its Eyes on You. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0014.

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A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.

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19

Jin, Dal Yong. Critical Discourse of K-pop within Globalization. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0006.

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This chapter examines the transformation of K-pop in the early twenty-first century in a broader sociocultural context. It maps out whether hybridity has generated new creative cultures, ones that are free from Western dominance, or whether this trend eventually oppresses local music. The aim is therefore to investigate the different cultural stages and transition of popular music in Korea occurring within the unfolding logic of globalization and to interrogate the adequacy of cultural hybridity as a plausible framework to explain cultural phenomena currently under way. In particular, it analyzes the development of English mixed into the lyrics of Korean popular music in order to identify and examine several key factors involved in the rapid growth of K-pop and its influence in the New Korean Wave. From the perspective gained from the combined angles of critical cultural studies and textual analysis, new insights are generated into the emerging discourse of cultural hybridization in Korean popular music.

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20

McIntosh, Kenneth, and Marsha McIntosh. Touching The Supernatural World: Angels, Miracles, & Demons (Religion and Modern Culture) (Religion and Modern Culture). Mason Crest Publishers, 2005.

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21

Geczy, Adam, and Vicki Karaminas. Gaga Aesthetics. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350102729.

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Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the “low” into the “high”. The same cannot be said of contemporary art of the 21st century, where the term “Gaga Aesthetics” characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer’s "The Culture Industry" and Adorno’s Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby ‘upending tradition’. In the tradition of philosophical aesthetics that Adorno began with Lukács, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is “Gaga Aesthetics”: aesthetics that no longer follows clear fields of activity, where “fine art” is but one area of critical activity. Indeed, Adorno’s concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna’s Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.

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22

Shadle, Matthew A. Globalization and Benedict XVI’s Caritas in Veritate. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190660130.003.0015.

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In recent years the economy has become globalized. Globalization is the increased flow of goods, services, capital, people, and culture facilitated by innovations in transportation and communication technologies. This chapter examines the phenomenon of globalization and its impact on Catholic social teaching. It looks, in particular, at Pope Benedict XVI’s encyclical Caritas in Veritate. Pope Benedict criticizes how the current global economy exploits and excludes vulnerable populations around the world. Caritas in Veritate further develops the communio framework initiated by John Paul II and proposes that the communion of the three Persons of the Trinity provides a model for the shape globalization should take, recognizing unity in the midst of diversity. The chapter also looks at how Catholic social thought itself is globalizing, examining in particular the work of Mary Mee-Yin Yuen from Hong Kong and Stan Chu Ilo from Nigeria.

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23

Kailuweit, Rolf, and Vanessa Tölke, eds. TangoMedia. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968216478.

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Initially conceived as a form of music and dance with vulgar connotations, tango emerged in the large cities located in the River Plate region in Argentina and Uruguay in the late 19th century. Brought to the public’s attention via early forms of the media (records, the radio and film), tango established itself in Europe before finding a mass audience in the region in which it originated from the 1930s to the 1950s. Tango’s revival in Europe in the 1980s also reignited its popularity in the River Plate region. Tango is a media product that pervades all social strata and transcends both regional and national borders. It’s not only the music and the dance itself that have turned tango into a pop-cultural phenomenon, but its music’s lyrics, the visual imagery it creates and its specific character. This book examines tango’s historical, social and media dimensions in 13 contributions.

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24

Ramey, Mark. Studying Fight Club. Liverpool University Press, 2012. http://dx.doi.org/10.3828/liverpool/9781906733551.001.0001.

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Fight Club is, on one level, pop-culture phenomena and on another, a deeply philosophical and satirical exploration of modern life. David Fincher's 1999 film (and Chuck Palahniuk's source novel) has had a huge impact on audiences worldwide leading to spoofs, homage, merchandising and numerous Internet fan sites. On initial release the film was met with wide hostility from critics who either failed to appreciate its satirical intent or believed the film failed to deliver on its satirical promise. Early in its DVD afterlife, however, a wider audience began to appreciate the film's significance and radical message. Although attracted by the film's playfulness and star wattage, however, many students struggle with its theoretical notions such as capitalism, materialism, anarchy and so on. This is one film, which therefore merits a thoughtful and provocative analysis but also an accessible one, and this book provides just that.

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25

Szkárosi, Endre. The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.46.

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This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultural trends helped to form a particular underground scene, mainly in the 1980s. Contextualizing these phenomena, the author makes a comparative study of the main tendencies of the given period on such a field in Euro-American sound poetry experimentations (Futurism, Dada, Fluxus), while highlighting some outstanding works of Hungarian poets and groups, such as Tibor Papp, Katalin Ladik, and Konnektor.

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26

Watson, Nicola J. The Author's Effects. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847571.001.0001.

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The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016

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