Fall Semester, 2020
This inaugural issue contains analyses of Melanie Martinez’s album K-12 (2019), Chicago (2002), The Perks of Being a Wallflower (2012), Into the Woods (1987, 2014), POSE (2018-2021), Grand Army (2020), The Phantom of the Opera (1988, 2004), Teeth (2007), and Flowers (2016-2018).
The Sweet and Spicy Aesthetics of Melanie Martinez: “This is K-12"
Caitlin Cunningham
Abstract: I thoroughly enjoyed the entire production of K-12 by Melanie Martinez for several reasons. I love her inclusiveness to all of the different types of races (white, black, Asian, etc.), genders (including trans people), and sexualities (bi, straight, gay, lesbian, etc.) in our world. I appreciate her usage of taboo topics that other creators are too timid or too simple minded to produce, and her call to action about the many injustices in our daily lives. Also, from a performer’s perspective, I admire the style of choreography that is set to the powerful words in each song that creates the K-12 aesthetic. This paper is all about the dissection, examination, and exploration of the 2019 motion picture by Melanie Martinez entitled, K-12. I will be focusing on the aesthetic analysis of Martinez’s incorporation of the Gothic and Lolita inspired fashion subculture and how it performs as a catalyst for a feminist resistance in K-12. José Muñoz’s thoughts on the theory of disidentification centers around a minoritarian who is queer and/or a person of color. However, the same strategies used by the minority to fit into the majority, also applies to a person who encompasses extraordinary gifts. I have confided in José Esteban Muñoz, Laura M. Dorwart, and Kathryn Adèle Hardy Bernal to help me accurately explore every aspect of K-12. Thus far, no one on this planet has used Dorwart’s PhD dissertation on Melanie Martinez’s first album, Cry Baby, to investigate Melanie’s unique combination of pastel, yet grotesque themes and images to compare the repeated incorporation of them in her most recent album, K-12. Additionally, nobody has used Bernal’s aesthetic analysis of the Gothic and Lolita fashion subculture, as a main reason as to Martinez’s love, appreciation, and personal interpretation of the Japanese style. Moreover, Muñoz’s views on the disidentification theory and how it applies to Martinez’s main character, Cry Baby, as a successful tactic to include herself into the mainstream, adds to the complexity of the uniqueness of this thesis in comparison to others.
Abstract: Growing up, I was introduced to the darker, more mature side of musical theatre with the movie Chicago. I instantly fell in love with the mature story and Bob Fosse-inspired choreography. The film ignited my passion for Fosse’s work and inspired me to delve deeper into his musicals. It wasn’t until later that I found out that the story of Chicago has been around for almost a century. Chicago is centered around two murderesses, Roxie Hart and Velma Kelly, who were based on two real-life murderers in the mid-1920s. Reporter Maurine Dallas Watkins covered the two murder trials and used the experience to create a play. After she died, Bob Fosse bought the rights to the story and created the musical that I know and love in 1975. Unfortunately, the musical wasn’t well received and didn’t last long on Broad-way. In 1996 the musical was revived for a weekend special and became such a hit that it was transferred to Broadway, where it has been ever since. The popularity of the revival paved the way for the film adaptation and ensured the legacy of Chicago for years to come. Chicago’s success, especially regarding the later adaptations, is often oversimplified. The musical needed more than a stellar cast and crew; it had to present a complex story at the perfect time to achieve success. I performed a sociological analysis of Chicago’s story and popularity through the studies of Zsofia Anna Tóth and Michael M. Kennedy. In Kennedy’s work, we can see that the glorification of criminals wasn’t akin to American society’s views in 1975. But with the rise of liberalism and mass media in 1996, the societal views on criminals changed, and the public was more accepting of celebrity murderers in the spotlight. Through Tóth’s work, I analyzed how the women in Chicago are classified as grotesque femme fatale and are subverted through the use of carnivalesque to make them appear acceptable in the eyes of audiences. With support from Stuart Hall’s work on the ‘Other’ and trans-coding and Dario Melossi’s “long-cycle” theory, I aim to show how Chicago’s success is attributed to the complex representation of female murderers as well as American society’s views on criminals.
Abstract: The Perks of Being a Wallflower movie meant a lot to me. It was the first movie centered around mental health that I felt was an accurate representation of real teenage mental health. Haleigh Altman, however, posits that the movie adaptation downplayed the effectiveness of the story by pushing the main character’s story to the back-burner and making him one of three main characters instead of the one main character. Using Allison Monaghan’s criteria for determining if a book falls in the genre “sick lit,” I argue that the movie is just as effective in portraying mental health as the book.
Into the Woods: Children Will See and Learn
Lydia Brendel
Abstract: In this personal reflection and analysis I will complicate your knowledge of the musical Into the Woods concerning the role and representation of children in the two most popular interpretations of the show: the 1987 stage production and the 2014 film. Into the Woods is usually viewed as a fresh, new outlook on a set of classic childhood fairy tales but there is more to it than that oversimplification. Not only is it a fascinating coming of age story, but it is also a beautiful representation of the struggles of parenting. Hyde Bendan Hyle, Cathy Ota, and Karen-Marie Yust use Into the Woods as a home base for their arguments about twisted fairy tales and child development and Rebecca Rowe delves deeper into child learning by comparing child representation in the film and stage productions. Into the Woods gives a closer look at the stresses and anxieties of growing up and raising a child which the 1987 stage production does beautifully and the 2014 film does not. The film cuts the script and score therefore removes meaning, and because the film doesn’t have an intermission so the children don’t have time to grow up, which Rebecca Rowe argues is a benefit of the remake. Brendan Hyle, Cathy Ota, and Karen-Marie Yust discuss the effect of reinterpreted fairy tales on a developing mind’s morality and ask if these reimagined stories promote more complex moral decisions or simply imply that the end justifies the means. Hyde, Ota, an Yust say that the twisting of fairy tales complicates the child's idea of morality but only in the way that wood adds fuels to a fire, as an inspiration for growth. The whole reason why this show is so important to us as children, adults, parents, and society as a whole is lost in the newer film version. Not to mention the Act One finale and the Act Two opener are missing from the newer film version, therefore, unlike the original version, the audience never gets the chance to digest the first half and actually ask, “What happens next?” Rowe states that society should be moving toward a kinship model relationship with children but fails to take into account the story behind the actions and the explicit differences in plot and structure from stage to film. I think that the two adaptations portray different kinds of relationship between adult and child because of the differences in structure of the plot, the time they were made, and what a Broadway production is capable of in comparison to a Hollywood production. Into the Woods is about the complicated relationship between parent and child and the growth that occurs in both parties because of that relationship. The show gives a closer look at the stresses and anxieties of raising a child, asking if the parent is letting go too soon and if they’ve prepared them enough for the big bad woods. Into the Woods also looks at the anxieties of growing up and the struggle of gaining independence while still feeling a little bit like a child. The stage production of Into the Woods makes this point so beautifully and so quietly that it almost slips by unnoticed. In comparison, the film is a novelty movie of twisted fairytales that hardly reaches the depth of the relationship between parent and child because it is missing the change that happens to a person.
Posing for Accuracy: The Importance of Queer Representation in POSE
Kevin Borelli
Abstract: Although we may not recognize it, the way we perceive things on the screen influences how we treat others off-screen. Historically, the portrayals of the LGBTQ+ community in the media have been negative, reflecting the cultural intolerance of LGBTQ+ individuals. However, from the 1990s to the present day, there has been an increase in depictions of LGBTQ+ people, issues, and concerns within mainstream media. Filmmaker, author, and artist Gwendolyn Audrey Foster admits, “We may still live in a world of white dominance and heterocentrism, but I think we can agree that we are in the midst of postmodern destabilizing forces when it comes to sexuality and race” (Foster 7). And although the community has made stride with mainstream media, pushing for movies such as Milk (2008), Brokeback Mountain (2005), and Love, Simon (2018), there seems to be something inauthentic and somewhat cringe. Where is the diversity? Where are the real and true queer actors to embody the emotions of what the LGBTQ+ community faces? (Except for “Love, Simon” actor Keiynan Lonsdale who played Bram Greenfeld) There seems to be a pattern where heterosexual, cisgender men, are given these roles to play but there’s nothing real about their portrayal. However, POSE decided it was time to change the course. Set in the 1980s, POSE explores the juxtaposition of several segments of life and society in New York: The ball culture world, the rise of the luxury Trump-era universe, and the downtown social and literary scene. The cherry on top is the diverse cast with actors such as Mj Rodriguez, Indya Moore, Angelica Ross, Billy Porter, Dyllon Burnside, giving the spotlight to not only queer people of color but bringing visibility to trans people simultan-eously. In this essay, we are going to dive deeper into the importance of accurate repre-sentation in the media and why it matters, dis-cussing issues such as trans violence, depictions of people of color, and why playing roles honestly can affect how a marginalized community is treated off-the screen. We look at authors such as Wibke Straube, José Esteban Muñoz, documentaries such as Disclosure, and an inter-view with viewers of the show asking for their most honest opinion on one of the most diverse shows ever created.
Abstract: This paper begins with a personal perspective on a 2020 television show called Grand Army and the way it is able to give an accurate depiction of minority issues without reinforcing harmful stereotypes. It states that inaccurate representation is a common issue found in the media and with that, it caters to people with privilege and the stereotypes they hold against minorities. To further its understanding on the effects of misrepresentation in the media, it takes a contrasting look at a 2017 television show called Thirteen Reasons Why. This media based theoretical study looks into two authors, John Kelly who addresses depictions of sexual violence in the media, specifically same-sex sexual violence, and Rob Cover who looks into queer theory and the development of sexual identities. While queer theory suggests that the exclusion of labels and sexuality fluidity is the ideal analytical framework, this paper takes into account what society is like and came to the conclusion that it is idealistic what queer theory is asking for. It suggests that accurate representation is an effective way to educate the audience on minority issues which would include issues on sexual identity, sexual violence, homophobia, and suicide.
Do You Really Know the Face Behind the Mask? Angel or Devil? Love or Lust?: The Phantom of the Opera
Mary DeLan
Abstract: The film version of The Phantom of the Opera is a wonderful rendition of the musical, and it is a cherished, timeless classic that has been watched by millions across the globe. Its thought-provoking characters, thrilling plotline, and spellbinding music have been captivating audiences for decades. However, the film has received backlash due to its representation of women and the disabled community, stereotypes, fetishization of oddness, “demon-lover” theme, and its mythic ending. Despite the arguments of scholars, psychoanalysts, and critics the show’s true meaning is captured beautifully in the film. Phantom was never intended to offend the disabled community or just to depict the fetishization of oddness, but rather it is a story about a wonderful role-model, Christine Daaé, who grows to love a man for his talent and personality regardless of his appearance. She is ultimately able to escape from his possessiveness and transform his outlook on life and society because of her kindness and unconditional love for him. Although arguments have been made in distaste for Christine’s character, I have found through my research that not only is she is the protagonist or heroine of the story, but her actions also have a greater influence or agency on all of the lives of the other characters in the film version. It is evident from my sources that Susan Kaveler-Adler had a much greater understanding of the representation of Christine’s character, as oppose to Jessica Sternfeld and Roger Ebert who overlooked the entire moral of the story. The show teaches audiences that true love is based on one’s soul, rather than appearance, and Christine proved this by loving the Phantom regardless of his mental, physical, and emotional disabilities.
Teeth: Camp Complexity of Contemporary Female Liberation
Ashley Cowles
Abstract: This paper aims to examine the intersection of Teeth’s influences to form a narrative around female liberatory action. Based on a cross examination of Kelly, Creed, and Brown as a criticism, this paper proposes that Teeth’s unintentional use of camp enables the film to take a complex stance in regard to this narrative, in that Brown’s criticisms are actually its strong suits. Brown fails to acknowledge the role of the monstrous within the genre of camp, a context vital in understanding its post-modern feminist approach to monstrous subversion. As Brown lacks the under-standing of this crucial framework within the film, she lacks the exhaustive under-standing of Teeth held by Kelly, and as such her criticisms often target goals the film had no intent to fulfill. Rather, Teeth’s camp apolitisism privileges its messaging, rendering it an effective example of the subversive post- modern feminist film.
Abstract: Media serves not only as a reflection of public attitudes and values but also takes part in shaping them, both intentionally and unintentionally, and is a prominent socializing agent. There have been many studies done on this function of media in the specific context of mental illness——including but not limited to Anat Klin and Dafna Lemish’s “Mental Disorders Stigma in the Media: Review of Studies on Production, Content, and Influences” and M. Anderson’s “'One Flew Over the Psychiatric Unit’: Mental Illness and the Media.” In this essay, we will examine the importance of representation of mental illness in media and media’s active role in the contexts of public image/attitude and its result on the individual’s self image and ability to seek help. Through this lens, we will make original connections between this previous research and the show Flowers to grow to have a deeper and more complex understanding on why the representation of depression and story of Flowers is so deeply important. Flowers challenges prior represent-ations in its media (television) through believable characters and careful attentiveness to how the content is handled.