The resistive potential of the marginal collective has framed cultural
studies interrogation of popular culture. It has often mobilised an ethic of play and
inversion that sits comfortably with cultural studies politics. The capacity for official
versions of history to mask these local and fragmented experiences has silenced the
range of alternative identities that circulate through the fringes of culture. The XFiles
episode The "Postmodern Prometheus" creates a visibility for unofficial and
popular versions of the past. This paper tracks the metamorphosis of the carnival
moment from official inversionary practice through the deviancy of American B-grade
horror and science fiction films to its reanimation via a celebration of radical
difference mobilised through the popular media.
Chris Carter
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