Youth Fantasies: The Perverse Landscape of the Media
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Youth Fantasies is a collection of studies conducted in cross-cultural collaboration over the past ten years that theorizes 'youth fantasy'; as manifested through the media of TV, film, and computer games. Unlike other media studies and education books, the authors employ both Lacanian and Kleinian psychoanalytic concepts to attempt to make sense of teen culture and the influence of mass media. The collection includes case studies of X-Files fans, the influence of computer games and the 'Lara Croft' phenomenon, and the reception of Western television by Tanzanian youth. The authors see this book as a much needed reconciliation between cultural studies and Lacanian psychoanalysis, and attempt to highlight why Lacan is important to note when exploring youth fantasy and interest in the media, especially in shows like X-Files .
health and welfare). These dynamics remain internal to the logic of capitalism itself (Zizek 1989, 22–23). From a Marxist viewpoint, of course, capitalism was yet another form of exploitation that did have its “progressive” moment as the middle class pulled itself away from Church and royalty, developing various forms of a democratic nation-state. But its progress stagnated into monopoly capitalism and imperialism when it claimed its ideology pour-tous. It was not until 1833 that child labor laws
the shit that both of them had to “eat” daily as an old lowly paid Putzfrau married to a virile Moroccan Gastarbeiter some 30 years her junior. As a touchstone with Winnicottian object relations theory, one may liken these objects (hotel, caviar, Châteaubriand) to “transitional objects” in the sense that such objects of desire hold an identification and a disidentification 44 Youth Fantasies in their bodily affectivity; they blink on and off in their fascination for us. In youth cultures what
Cameron Crowe’s Almost Famous (2000). This is the unresolvable tension that leads to collapse, in Lane’s case, to swallowing pills in a suicide attempt. Lane was the leader of a group of young women who called themselves “Band Aids” rather than “groupies,” preserving the fantasy that they were indeed objet a for the Other, a passive narcissistic desire because they were dedicated to a “specific” band. Our companion book, Musical Fantasies of Youth Cultures introduces a new figure of the fan on
fantasy can bring; becoming too self-assured when performing a superheroic feat that is imitated in a film sequence, which can equally result in injury or possible death. A number of high school boys, for example, imitated a scene from David Ward’s The Program (1993) where a frosh initiation for a university football team consisted in a test of bravery. A team member would lie down on the white line in the middle of the road during rush-hour traffic and allow cars to speed by in both directions
vicious circulation between real and faked violence. Contra to Freedman’s (2002) warning, they repeat the standard mantra that “thousands of studies have demonstrated the connection between TV violence and real-life crime (268),” listing the usual claims of desensitization and victimization of TV effects. They support biblical theologians like Walter Wink (2001) who believes that the myths of “redemptive violence” are simply reinforcing “lawless solutions” in comic books and TV cartoons. The