It Was TV: Teaching HBO\u27s The Wire as a Television Series

Unlike most courses dedicated to The Wire that have examined race, class, criminal justice, urban studies, or education, Sodano foregrounds The Wire as a work of television and examines how it was taught to media majors and non-majors from aesthetic, cultural, technological, economic, and sociological perspectives. It is crucial to recognize The Wire as a piece of television because the circumstances surrounding its appearance on HBO provide context for how it was produced, distributed, and received

In the Folds: Transforming a City’s Identity through Art and Social Purposes

This autoethnographic narrative retraces my four-year journey as an art commissioner for a city that is transforming beyond the stigma associated with a significant role in early nuclear weapons to a growing agritourism industry. The looming pressure for change is just like when tectonic plates push against each other until there is a quick release, causing earthquakes and eruptions. In the midst of the changing forces, I consider how the arts fold in. There are two purposes in this article that investigates the complexity between civic development and art. First, I will (re)define and (re)frame (Short & Turner, 2013) the open-nature of ever-changing possible meanings for any given narrative. Because of the links between words and images, I use poetic inquiry to reveal layers, show hidden messages (Cahnmann-Taylor, 2009), and construct new meanings (Leavy, 2015). Then, I will (re)discover and (re)confirmthe social identities realted to being an arts commissioner

Sex on TV 2

Part of a series that examines the nature and extent of sexual messages conveyed on TV. Tracks changes that occur over time in the treatment of sexual topics, including references to possible risks or responsibilities. Based on a 1999-2000 program sample

"Oh! What a tangled web we weave": Englishness, communicative leisure, identity work and the cultural web of the English folk morris dance scene

In this paper, we consider the relationship between Englishness and the English folk morris dance scene, considering how the latter draws from and reinforces the former. Englishness is considered within the context of the cultural web; a tool more often applied to business management but linked to a sociological viewpoint here. By doing so, we draw the connections between this structured business model and the cultural identity of Englishness. Then, we use the framework of the cultural web and theories of leisure, culture and identity to understand how morris dancers see their role as dancers and ‘communicative leisure’ agents in consciously defending Englishness, English traditions and inventions, the practices and traditions of folk and morris, and the various symbolic communities they inhabit. We argue that most morris dancers in our research become and maintain their leisured identities as dancers because they are attracted to the idea of tradition – even if that tradition is invented and open to change

Returning again. Resurrection narratives and afterlife aesthetics in contemporary television drama

This article examines the return of the dead to life in two television drama series of the last decade, Les Revenants (The Returned; 2012–15, Canal) and Glitch (2015–19, ABC Studios). The returning dead do not figure as classic undead figures, as ghosts or zombies, instead returning to life exactly as they were at the point of death and in search of a renewed purpose and an ultimate destiny. This, the article suggests, can constitute a form of latter-day resurrection. The article shows how both series present established religion as incapable of recognizing the return of the dead, while science and the secular state are also never wholly able to explain and manage these apparent miracles. The return of this seemingly religious trope to an ostensibly secular world and the mutual jostling and overlapping of theological, scientific, and aesthetic discourses, as they seek to represent and explain the mystery, not only constitutes a postsecular theme but also occasions the search, at times inherent to artistic form, at times explicit and self-reflexive, for an appropriately postsecular televisual aesthetics

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Texas Student Medi

Flora and Fauna in East Asian Art

Flora and Fauna in East Asian Art is the fourth annual exhibition curated by students enrolled in the Art History Methods course. This exhibition highlights the academic achievements of six student curators: Samantha Frisoli ’18, Daniella Snyder ’18, Gabriella Bucci ’19, Melissa Casale ’19, Keira Koch ’19, and Paige Deschapelles ’20. The selection of artworks in this exhibition considers how East Asian artists portrayed similar subjects of flora and fauna in different media including painting, prints, embroidery, jade, and porcelain. This exhibition intends to reveal the hidden meanings behind various representations of flora and fauna in East Asian art by examining the iconography, cultural context, aesthetic and function of each object.https://cupola.gettysburg.edu/artcatalogs/1025/thumbnail.jp