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Metafiction and Cultural Production ...

Hansen, Paul M.

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Metafiction and Cultural Production in Post-Postmodern American Fiction and Film.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Metafiction and Cultural Production in Post-Postmodern American Fiction and Film./
作者:	Hansen, Paul M.
面頁冊數:	192 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
Contained By:	Dissertation Abstracts International76-05A(E).
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3668713
ISBN:	9781321439823

Metafiction and Cultural Production in Post-Postmodern American Fiction and Film.
Hansen, Paul M.

Metafiction and Cultural Production in Post-Postmodern American Fiction and Film. - 192 p.

Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2014.

This dissertation argues that, as technological development has accelerated over the past two decades, American fiction has shifted away from postmodernism toward texts that explore amateur cultural production in a more realist, sincere register. The novels and films that this dissertation considers, tentatively categorized as post-postmodern, employ metafiction to reflect and critique a cultural landscape in which digital platforms provide an opportunity for amateurs to produce, evaluate, and consume cultural objects outside the traditional structures of the publishing and film industries. Furthering Jeffrey Nealon's definition of the term in his 2012 book, Post-Postmodernism, I argue that these texts are marked by accessibility, a foregrounded interest in the mechanisms of cultural production, and the collapsing distance between professional and amateur producers of cultural objects. The recent explosion of public internet use, the intensification of capitalism, and the development of digital film and writing platforms have all contributed to the construction of a new cultural dominant that encompasses everything from the novels of Jonathan Safran Foer to the videos on YouTube.

ISBN: 9781321439823Subjects--Topical Terms:

523234
American literature.

Metafiction and Cultural Production in Post-Postmodern American Fiction and Film.
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245 1 0 $a Metafiction and Cultural Production in Post-Postmodern American Fiction and Film.
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500 $a Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
500 $a Advisers: Michael Bernard-Donals; Russ Castronovo.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2014.
520 $a This dissertation argues that, as technological development has accelerated over the past two decades, American fiction has shifted away from postmodernism toward texts that explore amateur cultural production in a more realist, sincere register. The novels and films that this dissertation considers, tentatively categorized as post-postmodern, employ metafiction to reflect and critique a cultural landscape in which digital platforms provide an opportunity for amateurs to produce, evaluate, and consume cultural objects outside the traditional structures of the publishing and film industries. Furthering Jeffrey Nealon's definition of the term in his 2012 book, Post-Postmodernism, I argue that these texts are marked by accessibility, a foregrounded interest in the mechanisms of cultural production, and the collapsing distance between professional and amateur producers of cultural objects. The recent explosion of public internet use, the intensification of capitalism, and the development of digital film and writing platforms have all contributed to the construction of a new cultural dominant that encompasses everything from the novels of Jonathan Safran Foer to the videos on YouTube.
520 $a Although primarily focused on literary texts, this dissertation draws on a wide range of critical sources, from Judith Butler's Giving an Account of Oneself to Henry Jenkins' Convergence Culture, to construct an argument with multidisciplinary implications. Following an introduction that outlines post-postmodernism, chapter one uses Michael Chabon's The Amazing Adventures of Kavalier and Clay (2000), to illustrate how, in that text, marginalized subjects are able to employ a marginalized cultural form---the early comic book---to garner real social and political power. Chapter two uses the novel Gain (1998), by Richard Powers, to acknowledge the resistance that disruptive cultural technologies (such as online publishing) face from established power structures. My primary text for chapter three is Wes Anderson's Rushmore (1998), which illustrates the sort of amateur cultural production that, in the first decade after the film's release, expanded massively because of digital technology. My reading of Rushmore is bracketed by critical analyses of the do-it-yourself (DIY) movement and YouTube, and is followed by a conclusion that considers how crowdfunding might alter literary production.
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