AI find this to be an extraordinary and original piece of work. . . . Mellencamp moves through bodies of theory and bodies of texts in popular (and so-called high) culture demonstrating, in her readings, a common range of preoccupations. . . . [She] offers readings of the terrain of contemporary everyday culture (and, at times, the AothersA of everyday culture).A AMimi White Operation Desert Storm, I Love Lucy, Anita Hill, Twin Peaks, Jim and Tammy Faye Bakker, Murder, She Wrote, Oprah, Geraldo, and Phil: these and other subjects come together to form an AanxiousA mosaic in Patricia MellencampAs High Anxiety. Framed by a critique of the temporality of U.S. television, High Anxiety is a narrative journey between FreudAs texts on obsession and the cult of anxiety pervading contemporary culture. MellencampAs adventure in cultural criticism is personal, impressionistic, mimicking TV Aflow, A and yet substantiates arguments with precision and flair.1989 episode devoted to Suzannea#39;s weight gain, which was simultaneously a hot topic of the tabloids. ... Suzanne is a funny throwback to the dinosaur era when male desire was the measure of women. Critical for sitcom, as Tara McPherson has pointed out, and in contrast to The Golden Girls, the characters are not frozen into a typology but ... Charlene lost weight, had a makeover, went to college, met an upper-class military man, was married, had a baby, and left the show in 1991.
|Publisher||:||Indiana University Press - 1992|