Dudefilms In
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Media Intertextualities
This collection of critical essays, originally published in Pragmatics and Society 1:2 (2010), discusses how normative biases that shape our relation to the world are constructed through discursive practice in media discourse. The intertextual perspective it adopts is crucial for our understanding of how media representations of speakers and languages shape many of our preconceptions of others. Mediatization is inherently intertextual; the very nature of this process involves extracting the speech behavior of particular speakers or groups from a highly specific context and refracting and reshaping it to be inserted in another stream of representation. The notion of intertextuality becomes a useful concept for the linguistic anthropological study of media discourse in the context of modernity, as it provides us with a tool for exploring the semiotic processes that underlie the way in which the media negotiate and reinscribe the complex relationships of identity that characterize late modern subjecthood.
Where the Boys Are
Author: Frances Gateward
language: en
Publisher: Wayne State University Press
Release Date: 2005-01-18
Using the most current and diverse critical methods, Where the Boys Are is a crucial resource for film scholars and students at any level, and is the perfect companion to Gateward and Pomerance’s Sugar, Spice, and Everything Nice: Cinemas of Girlhood (Wayne State University Press, 2002).
The Fastest Clock in the Universe
It's Cougar's birthday. He's having a party. And the gift he'd kill for is youth... In a strange room in East London the party preparations are under way. Everything has been planned to the last detail. Surely nothing can go wrong? After all, there's the specially made birthday cake, the specially written cards, the specially chosen guest of honour... and a very, very sharp knife. Philip Ridley's edgy and provocative drama caused a sensation when it premiered at Hampstead Theatre in 1992, winning the Evening Standard Award for Most Promising Newcomer to the Stage and the Meyer Whitworth Prize. It is now regarded as a contemporary classic. 'A bit like a ride on a ghost train... you find yourself shuddering with shock and laughing uproariously... horror has rarely been so much fun' Daily Telegraph 'Scorchingly nasty... fingers an age and its icons with terrifying accuracy' Guardian