Relevant bibliographies by topics / World Wrestling Entertainment

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'World Wrestling Entertainment'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2023

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Journal articles on the topic "World Wrestling Entertainment"

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Davidson, Nicholas P., James Du, and Michael D. Giardina. "Through the Perilous Fight: A Case Analysis of Professional Wrestling During the COVID-19 Pandemic." International Journal of Sport Communication 13, no. 3 (September 1, 2020): 465–73. http://dx.doi.org/10.1123/ijsc.2020-0224.

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The rapidly escalating COVID-19 pandemic has forced the sport industry into unchartered territory. Beginning on March 11, 2020, when the National Basketball Association suspended its season, the American sports landscape has consequently encountered an unprecedented number of temporary suspensions, postponements, and cancellations. Although most major leagues and their pertaining sports have halted to a sudden stop, professional wrestling has surprisingly continued on, including World Wrestling Entertainment’s WrestleMania 36, which was held without fans in attendance. The maintenance of professional wrestling during the COVID-19 crisis has presented a unique situation, in which fans and companies involved in the sport have rallied on social media platforms behind the sport’s relative normality in a time of global uncertainty. Leveraging publicly trackable Twitter data, we analyzed public sentiments toward two of the largest companies (e.g., World Wrestling Entertainment and All Elite Wrestling) in the professional wrestling industry and related trends during the widespread onset of the COVID-19 pandemic in the United States. The results represent exploratory insights surrounding the continuation of professional wrestling during the COVID-19 pandemic.
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Korpua, Jyrki, and Juho Longi. "Face vastaan Heel." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (September 8, 2021): 57–73. http://dx.doi.org/10.23994/lk.111161.

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Artikkeli käsittelee stereotyyppisen ”hyvän” ja ”pahan” kamppailua yhdysvaltalaisessa televisioidussa showpainissa. Showpaini on yleisöviihdettä, jossa kamppailulajit yhdistyvät teatterimaiseen esiintymiseen käsikirjoitetuissa ja ennalta päätetyissä tarinoissa. Showpaini on suureellista spektaakkelia, jossa käytetään liioiteltuja reaktioita.Tämä artikkeli käsittelee hyvän ja pahan kohtaamista showpainissa yhden erityisen kuvaavan tapausesimerkin kautta, joka on valikoitu yhdysvaltalaisesta WWE-showpainiorganisaatiosta. Tapausesimerkissä ”hyvä” (face) eli Shinsuke Nakamura kohtasi ”pahan” (heel) eli Samoa Joen sarjassa otteluita, jotka televisioitiin suurelle yleisölle ja joihin liittyi runsaasti oheismateriaalia Internetissä. Artikkelimme tarkastelee, kuinka tämä spektaakkelinen kokonaisuus rakennettiin tarinallisesti näistä elementeistä. Kysymme, miten ja millaisista osista televisioitu showpaininarratiivi rakentuu.Avainsanat: showpaini, mediaspektaakkeli, urheiluviihde, face, heel.Face versus Heel. Battle of Good and Evil in American televised professional wrestlingThe article investigates the stereotyped battle of “good” versus “bad” on televised American professional wrestling. Professional wrestling, or “Sports Entertainment” as WWE-promotion calls it, is an extremely popular audiovisual spectacle, which combines elements of sports, martial arts, theatre, and dance performances. It also uses spectacular theatrical reactions and audience participation on competitions, where outcomes are (usually) predetermined.Demonstrating a structural analysis of the narrative, the article focuses on the construction of a professional wrestling spectacle by doing a case study on a series of matches from WWE (World Wrestling Entertainment), where Shinsuke Nakamura, a stereotyped “good” wrestler (so-called Face) fought against Samoa Joe, a stereotyped “evil” wrestler (so-called Heel).Keywords: professional wrestling, show wrestling, media spectacle, sports entertainment, face, heel
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Vasudev, Kapil. "Book Review: Pro Wrestling: A Comprehensive Reference Guide." Reference & User Services Quarterly 58, no. 4 (October 25, 2019): 267. http://dx.doi.org/10.5860/rusq.58.4.7168.

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Professional wrestling is one of the most popular forms of entertainment in the world, delivering spectacles that are equal parts athletic competition and theatrical performance. As pro wrestlers have grown in stature from local heroes to worldwide superstars, so too has the wrestling industry grown from traveling road shows to globally televised productions. Despite the massive success of pro wrestling, a literature search reveals a dearth of reference guides and scholarly analysis on the subject. In Pro Wrestling: A Comprehensive Reference Guide, author Lew Freedman provides a much-needed guide for newcomers to this unique hybrid of sport and performing art.
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McQuarrie, Fiona A. E. "Breaking kayfabe: ‘The history of a history’ of World Wrestling Entertainment." Management & Organizational History 1, no. 3 (August 2006): 227–50. http://dx.doi.org/10.1177/1744935906066371.

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Walton, Laura Richardson, and Kevin D. Williams. "World Wrestling Entertainment Responds to the Chris Benoit Tragedy: A Case Study." International Journal of Sport Communication 4, no. 1 (March 2011): 99–114. http://dx.doi.org/10.1123/ijsc.4.1.99.

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An organization’s initial response to a crisis can dictate the tone of its sustained response throughout the crisis, as well as stakeholders’ reactions to the incident. When news of the deaths of professional wrestler Chris Benoit, his wife, and their 7-yr-old son broke, World Wrestling Entertainment (WWE) immediately paid tribute to the superstar. A memorial show to Benoit’s career aired as investigators searched the family’s home. The investigation revealed that Benoit murdered his wife and son before taking his own life, resulting in WWE’s retraction of its earlier tributes. Furthermore, the organization had to respond to the swarm of speculation that steroids—and WWE’s lax policy on their use—were to blame. This case study analyzes WWE’s immediate response strategies to their employee’s family’s deaths and the subsequent strategies used on learning that the employee was implicated. Qualitative analysis of corporate documents and official statements seeks to provide direction regarding how similar organizations should respond in the days immediately after tragic events when employees may be implicated.
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Lydon, Michael. "From a ‘Lass Kicker’ to ‘The Man’: WWE’s Irish Wrestler Becky Lynch and the Appropriation of Hegemonic Masculinity." Review of Irish Studies in Europe 5, no. 1 (May 25, 2022): 89–104. http://dx.doi.org/10.32803/rise.v5i1.2965.

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Since her World Wrestling Entertainment (WWE) debut (2014), Becky Lynch has become one of the best known popular cultural representations of transnationalised Irishness. In emerging victorious in the main event of Wrestlemania 35 (2019), Lynch cemented her place as WWE’s top Superstar. She thus became the first woman to achieve the accolade, completing her transition from a jig dancing ‘Lass Kicker’ to the sports entertainment conglomerate’s top star, or ‘The Man’. In this article, I consider Lynch’s career in what Barthes’ considers the morally embedded theatrical performance that is professional wrestling. This entails assessing WWE as a ‘masculine melodrama’, a scripted form of popular entertainment with a long-standing tradition of asserting hegemonic masculinity. I outline WWE’s history of essentialising Irishness, before considering Lynch’s prominent position in WWE’s neoliberal feminist brandcasting. Finally, I show that fan appreciation for Lynch’s skill as a wrestler, and a ‘real’ moment of bloodshed, facilitated her use of the moniker ‘The Man’. Ultimately, I reveal that in being ‘The Man’, Lynch appropriated hegemonic masculine characteristics to challenge controversial normatives, while also signalling WWE’s neoliberal feminist emphasis on the importance of individual agency over industry accountability. Keywords: Popular Culture; Irishness; Professional Wrestling; Hegemonic Masculinity; Neoliberal Feminism
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McCreedy, Jonathan. "WWE fan reception and shifting perceptions of masculinity in the Trump era." Journal of Popular Television 9, no. 2 (June 1, 2021): 233–50. http://dx.doi.org/10.1386/jptv_00052_1.

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This article will study the world of American professional wrestling in connection to the reception of masculine tropes by World Wrestling Entertainment (WWE) fans. Wrestling fans, who are in majority male and traditionally come from the American working class, are in the unique position to voice, or scream, their opinions of positive or negative masculine behaviours that they see live in the ring. Since it is a scripted show (or in wrestling jargon, a ‘work’), it offers us a fascinating insight into how men view masculine behaviour as they view the action from a fictional distance. As unlikely at it may seem, I will argue that based upon their live reception of positive and negative masculine traits, modern WWE fans are surprisingly liberal in their condemnation of masculinist beliefs such as misogyny, having a hatred of oppressive patriarchal systems and, mostly recently, opposing the sleazy objectification of women. I will additionally challenge accusations that wrestling is a fundamentally misogynistic industry, with particular reference to the modern reception of female wrestlers as serious athletes, rather than erotic valets leading males to the ring, or as sex objects in general, with reference to the successful 2015 ‘Divas revolution’ and the company’s decision to rename them ‘superstars’ in all broadcasts ‐ giving them equal status to their male counterparts.
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Amaral, Carlos Cézar Domingos do, and Bruno Chiarioni. "WWE: Um Universo de Lutas que Invadiu o Brasil." Revista Extraprensa 8, no. 1 (May 7, 2015): 161. http://dx.doi.org/10.11606/extraprensa2014.85193.

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A WWE, World Wrestling Entertainment é um show de lutas ligadas ao entretenimento. A empresa foi fundada nos EUA na decáda de 1950. No início o respectivo nome era bem distinto do atual. A empresa era denominada por NWA Capitol Wrestling. O grande salto da empresa acontece em 1997, com a WWFATTITUDE, a epóca mais lembrada e criticada da companhia, pois é até hoje lembrada com grandes combates e lutadores que depois foram para o cinema como Hulk Hogan e The Rock, mas também pelas bebidas alcoolicas e depredamento dos bons costumes americanos. Em 2002, o nome definitivo é criado e assim nasce a WWE, mas o intuito das lutas continuava, mas bem diferente da Era da Atitude da WWF. As lutas da WWE estão enquadradas no estilo pro-wrestling que no Brasil é conhecida como Luta Livre Catch. Então esse estudo pretende mostrar um pouco do histórico da empresa, a vontade em crescer no Brasil, pesquisa bibliografica sobre o tema e entrevistas com fãs sobre a transmissão da WWE em nosso país, respostas sobre o porque da tradução dos golpes e como fazer sucesso em território dominado pelo futebol.
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Taylor, Joy T. "“You Can't See Me,” or Can You?: Unpacking John Cena's Performance of Whiteness in World Wrestling Entertainment." Journal of Popular Culture 47, no. 2 (April 2014): 307–26. http://dx.doi.org/10.1111/jpcu.12123.

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Barrett, Betty Jo, and Dana S. Levin. "“You Can’t Touch Me, You Can’t Touch Me”: Inter-gender violence and aggression in the PG era of World Wrestling Entertainment (WWE) programming." Feminism & Psychology 25, no. 4 (March 30, 2015): 469–88. http://dx.doi.org/10.1177/0959353515576528.

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Dissertations / Theses on the topic "World Wrestling Entertainment"

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Kleiner, Jimmy. "International Sensations : Representationen av nationalitet i World Wrestling Entertainment." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131245.

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Denna uppsats intresserar sig för professional wrestling och då specifikt bolaget World Wrestling Entertainment, WWE. Syftet med uppsatsen är att undersöka hur nationalitet representeras i World Wrestling Entertainments produkt. Uppsatsens teoretiska ramverk består utav tre olika författare. Dessa tre är Michael Billig, Stuart Hall och Roland Barthes. Från Michael Billig används begreppen 'hot and banal nationalism' för att definiera nationalism. Från Stuart Hall hämtas teorier om 'representation', vad det är och hur det fungerar samt olika perspektiv på varför det är intressant att studera 'olikhet'. Slutligen använder sig uppsatsen utav Roland Barthes artikel Le monde où l'on catche, the World of Wrestling i den engelska översättningen, som analyserar wrestling på ett semiotiskt vis. Många av de teorier som Barthes presenterar i denna artikel är relevanta än idag trots att han skrev artikeln på 1950-talet. Uppsatsens frågeställning kommer att undersökas genom en multimodal analys. En multimodal analys lämpar sig väl för ett så visuellt fenomen som wrestling. Det möjliggör även för studier av de rent textuella elementen i programmen och inte bara det visuella. Materialet består utav de inledande videomontagen från två olika wrestlingmatcher. Båda matcherna är hämtade från WWEs största årliga pay-per-view Wrestlemania som gått av stapeln varje år sedan år 1985. Den ena matchen är hämtad från Wrestlemania 29 år 2013 och den andra är hämtad från Wrestlemania 31 år 2015. Båda matcherna inkluderar icke-amerikanska karaktärer. Den första matchen ser amerikanen Jack Swagger möta mexikanen Alberto Del Rio och den andra matchen ser amerikanen John Cena möta den ryske Rusev. Efter analysen kunde slutsatsen dras att vad gällde de matcher som analyserats framställdes de ickeamerikanska karaktärerna varken positivt eller negativt. Vad analysen lyckades komma fram till var att de icke-amerikanska karaktärerna var där för att reproducera en bild av den amerikanska nationella identiteten och att de icke-amerikanska karaktärernas nationaliteter egentligen inte var relevanta. Det relevanta var det faktum att de var just icke-amerikaner. Deras faktiska nationaliteter behandlades inte i någon större utsträckning i materialet. Materialet verkade mest kretsa kring USA och dess nationella identitet.
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Ohlsen, David Blond. "A Rhetorical Analysis of Hegemonic and Counterhegemonic Performances in World Wrestling Entertainment (WWE)." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10604427.

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A global entertainment powerhouse with millions of fans, WWE produces and archives thousands of hours of content every year that is often dismissed as low brow, incomprehensible, base, and/or harmless. However, WWE content is guilty of propitiating heteronormativity, binary gender construction, and the exploitation, repression, and erasure of LGBTQ+ culture.

I argue that the pro wrestling personae that perform in the fictional WWE universe are perfect embodiments of Judith Butler’s theory of performativity, as evidenced in how the gender and sexuality of these often fluid and paradoxical personae are discursively constructed. This thesis also analyzes ironic and transcendent counterhegemonic performances by personae that can be read as rupturing WWE’s repressive, heteronormative hegemony, as informed by Kenneth Burke. This thesis is an analysis of the counterhegemonic personae Nia Jax, Tyler Breeze, Bayley, and Chris Jericho based on their appearances in primary WWE content between 2 January, 2017 and 25 April, 2017.

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Horiuchi, Isamu. "Stylizing, Commodifying, and Disciplining Real Bodies: An Examination of WWE Wrestling." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/55.

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This dissertation examines professional wrestling in the U.S., in particular, live and television shows produced by the World Wrestling Entertainment (WWE). Through the examination, it addresses complex issues of authenticity, audience, commodification, and discipline in contemporary popular culture and media. I use three approaches in this study. First, I apply the theory of culture industry, developed by Theodor W. Adorno and Max Horkheimer, to understand WWE wrestling. I examine how the WWE thoroughly stylizes its products to attract fans and condition them to repeat the same calculable reactions. However, contemporary fans often refuse to react as the WWE wants them to. By analyzing the complex interplay between the WWE and fans, I update and re-contextualize Adorno and Horkheimer's idea that the culture industry exerts total control over consumers. Second, I examine the recent rise of "nonfictional" narratives in professional wrestling, narratives that candidly acknowledge wrestling's scripted nature. I demonstrate how the WWE uses nonfictional narratives to present fans new ways of finding realness in wrestling and respecting wrestlers. I also point out that, by utilizing both fictional and nonfictional narratives, the WWE has developed clever ways of balancing between offering controversial products and transmitting conservative and respectable messages to enhance its populist appeal. Third, I look at the history of professional wrestling through theories of modernity and postmodernity. I grasp it as a dynamic process in which wrestling has expressed its challenge against and ambivalence towards dominant ideologies, values, and masculinities of modernity in multiple ways. I also examine the predominance of obsessed subjectivities in contemporary WWE wrestling as a unique form of postmodern expression. I argue that obsessively competitive and self-destructive performances of WWE wrestlers illuminate the contradiction of the construction of modern "disciplined" subjects described by Michel Foucault. They also reveal that in the culture where pain and destruction of human beings are among the most desired objects, the WWE has to endanger real live bodies of its wrestlers in order to survive and thrive. WWE is a rich, problematic, and compelling cultural phenomenon that illuminates issues and contradictions of itself, and the system it belongs to.
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Pickar, Matt S. "Vince McMahon/Mister McMahon the WWE, XFL, and the development of sports entertainment /." 2005. http://www.oregonpdf.org.

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Thesis (M.A.)--University of Colorado, 2005.
Includes bibliographical references (leaves 114-118). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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(87659), M. Lee. "Smark Power : the collective intelligence of the Internet Wrestling Community (IWC) and its influence on the career of former WWE World Heavyweight Champion Chris Benoit." Thesis, 2010. https://figshare.com/articles/thesis/Smark_Power_the_collective_intelligence_of_the_Internet_Wrestling_Community_IWC_and_its_influence_on_the_career_of_former_WWE_World_Heavyweight_Champion_Chris_Benoit/13453472.

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Typically they are known as ‘smarks’, collectively they are known as the Internet Wrestling Community (IWC). This study of the mostly internet-based texts of the IWC shows that members of that informal alliance largely conform to the norms of fan culture and behaviour described in previous studies of fans in other entertainment genres. Celebrity is shown to be a product of publicity, promotion and fanaticism, and audiences connect with stars through involvement with the characters they portray and they identify with actualities as presented in the media. Fan culture involves obsession to know everything about the stars, worship and moral judgement. However, it is contended in this dissertation that there are factors that distinguish the IWC from other large fan groups. These arise in part from the unique format of pro-wrestling as a blend of theatrical and sporting product, and in part from the convergent technological ground that enables such a widely-disbursed, anarchic and yet cohesive body to exist and exert influence. It is argued that the collective intelligence of the IWC members who produce, filter and remediate all manner of source material from gossip, rumour and speculation, to news, to secret wrestling ‘insider’ information has forced the dominant industry player, World Wrestling Entertainment (WWE) to revaluate its production strategies. The role of the IWC in the breaking of kayfabe—the industry code of silence on the illusory aspect of wrestling—is highlighted. Using textual analysis technique this study focuses on the career rise and tragic downfall of former WWE performer Chris Benoit. It is contended that this wrestling veteran became a significant marketing image of the WWE’s global media empire as a direct result of the influence of the smarks of the IWC.
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Books on the topic "World Wrestling Entertainment"

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Guttman, James. World Wrestling Insanity. Chicago: ECW Press, 2008.

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Aaron, Feigenbaum, and World Wrestling Entertainment Inc, eds. The ultimate World Wrestling Entertainment trivia book. New York, NY: World Wrestling Entertainment Books, 2002.

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Entertainment, Inc World Wrestling. World Wrestling Entertainment presents limited edition action collection. Exeter: Pedigree, 2001.

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Sullivan, Kevin. WWE encyclopedia of sports entertainment. 3rd ed. Indianapolis, IN: Dorling Kindersley, 2016.

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Kevin, Sullivan, World Wrestling Entertainment Inc, and World Wrestling Federation, eds. WW encyclopedia: The definitive guide to World Wrestling Entertainment. New York: DK, 2009.

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Wrestling's made men: Breaking the WWE's glass ceiling. New York, NY: Citadel Press, Kensington Pub. Corp., 2006.

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The ultimate guide to WWE. New York: Grosset & Dunlap, 2010.

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Inc, World Wrestling Entertainment, ed. WWE legends. New York: WWE Books/Pocket Books, 2006.

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Sullivan, Kevin. The WWE championship: A look back at the rich history of the WWE championship. New York, NY: Gallery Books, 2010.

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Foley, Mick. Countdown to lockdown: A hardcore journal. New York: Grand Central Pub., 2010.

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Book chapters on the topic "World Wrestling Entertainment"

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Watts, Robert. "‘Zero tolerance for candy asses’: World Wrestling Entertainment and Fast & Furious as transmedia storytelling." In Full-Throttle Franchise. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781501378867.ch-12.

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Orr, David W. "Ideasclerosis." In The Nature of Design. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195148558.003.0012.

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The time between innovations in technology and new products introduced into markets has steadily declined so that what had once taken decades has been reduced to months or a few weeks. As a result, we now have less time than ever to consider the effects of various innovations or systems of technologies on any number of other things, including our longer-term prospects. Contrast this pace, driven by the frenetic search for profit or power, with the rate of innovation in those things that would accrue to our long-term ecological health. This difference captures an important dimension of the problem of human survival in the twenty-first century. While we introduce new computing equipment every few months, we still farm in ignorance of Charles Darwin and Albert Howard. Land-use thinking has barely begun to reckon with the thought of Aldo Leopold. After hundreds of studies on the potential for energy efficiency, our use of fossil energy, if somewhat more efficient, continues unabated. In short, innovations that produce fast wealth, whatever their ecological or human effects or impact on long-term prosperity, move ever more quickly from inception to market, while those having to do with human survival move at a glacial pace if they move at all. Why? One possibility is that we are buried in an avalanche of information and can no longer separate the critically important from that which is trivial or perhaps even dangerous. This is certainly true, but it still does not explain why some kinds of ideas move quickly while others are ignored. Exhausted by consumption and saturated by entertainment, perhaps we have become merely “a nation of nitwits” (Herbert 1995) no longer willing or able to do the hard work of thinking about serious things. “The American citizen,” Daniel Boorstin once wrote, “lives in a world where fantasy is more real than reality” (Boorstin [1961] 1978, 37). A casual survey of talk radio, television programs, and World Wrestling Federation events would lead one to believe this to be true as well. But, again, it does not explain why ecologically important ideas fail to excite us as much as contrived ones. Maybe the problem lies in the political arena, now dominated by wealthy corporations.
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"Be ready to be excited: the World Wrestling Entertainment’s marketing strategy and economic model BORIS HELLEU." In Global Sport Marketing, 154–69. Routledge, 2012. http://dx.doi.org/10.4324/9780203126462-17.

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Conference papers on the topic "World Wrestling Entertainment"

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Budiarta, I., and I. Made Hendrawan. "Figurative Languages in World Wrestling Entertainment." In Proceedings of the First International Seminar on Languare, Literature, Culture and Education, ISLLCE, 15-16 November 2019, Kendari, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.15-11-2019.2296207.

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