Class-Passing
$30.00
| Title | Range | Discount |
|---|---|---|
| Trade Discount | 5 + | 25% |
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Description
Oprah Winfrey, Donald Trump, Roseanne Barr, Martha Stewart, and Britney Spears typify class-passers—those who claim different socioeconomic classes as their own—asserts Gwendolyn Audrey Foster in Class-Passing: Social Mobility in Film and Popular Culture. According to new rules of social standing in American popular culture, class is no longer defined by wealth, birth, or education. Instead, today’s notion of class reflects a socially constructed and regulated series of performed acts and gestures rooted in the cult of celebrity. In examining the quest for class mobility, Foster deftly traces class-passing through the landscape of popular films, reality television shows, advertisements, the Internet, and video games. She deconstructs the politics of celebrity, fashion, and conspicuous consumerism and analyzes class-passing as it relates to the American Dream, gender, and marriage. Class-Passing draws on dozens of examples from popular culture, from old movie classics and contemporary films to print ads and cyberspace, to illustrate how flagrant displays of wealth that were once unacceptable under the old rules of behavior are now flaunted by class-passing celebrities. From the construction worker in Who Wants to Marry a Millionaire? to the privileged socialites Paris Hilton and Nicole Richie of The Simple Life, Foster explores the fantasy of contact between the classes. She also refers to television class-passers from The Apprentice, Queer Eye for the Straight Guy, and Survivor and notable class-passing achievers Warren Buffet, Bill Gates, and P. Diddy. Class-Passing is a notable examination of the historical, social, and ideological shifts in expressions of class. The first serious book of its kind, Class-Passing is fresh, innovative, and invaluable for students and scholars of film, television, and popular culture.
In examining the quest for class mobility, Foster deftly traces class-passing through the landscape of popular films, reality television shows, advertisements, the Internet, and video games. She deconstructs the politics of celebrity, fashion, and conspicuous consumerism and analyzes class-passing as it relates to the American Dream, gender, and marriage.
Gwendolyn Audrey Foster is Willa Cather Endowed Professor of English and Film Studies at the University of Nebraska, Lincoln, and is the author of fourteen books. Performing Whiteness: Postmodern Re/Constructions in the Cinema, was named an outstanding title in the humanities for 2004 by Choice. Foster's most recent book is Disruptive Feminisms: Raced, Classed, and Gendered Bodies in Film.
“Class-Passing is positively overflowing with ideas and insights, teeming with splendid observations of an original and challenging nature. Foster’s ability to link class with issues of race, gender, and the body is quite marvelous and convincing. Class-Passing is very much in the forefront of contemporary film and cultural studies, superior in every way.”—David Desser, University of Illinois
“Class-Passing is positively overflowing with ideas and insights, teeming with splendid observations of an original and challenging nature. Foster’s ability to link class with issues of race, gender, and the body is quite marvelous and convincing. Class-Passing is very much in the forefront of contemporary film and cultural studies, superior in every way.”—David Desser, University of Illinois
“At a time when studies of social class in media representation have taken a back seat to analyses of race and gender, Class-Passing, in daring and original fashion, maps and elaborates on contradictions in performing social class via the media and popular culture. The book is commendable for the range of examples that illustrate continuities and changes in representations of social class as well as their relation to treatments of race and gender. Foster’s innovative analysis is not restricted to cinema but includes television, advertising, etiquette books, popular manuals, and video games, providing a broad field from which to assess the character and vicissitudes of class passing.”—Marcia Landy, University of Pittsburgh
“At a time when studies of social class in media representation have taken a back seat to analyses of race and gender, Class-Passing, in daring and original fashion, maps and elaborates on contradictions in performing social class via the media and popular culture. The book is commendable for the range of examples that illustrate continuities and changes in representations of social class as well as their relation to treatments of race and gender. Foster’s innovative analysis is not restricted to cinema but includes television, advertising, etiquette books, popular manuals, and video games, providing a broad field from which to assess the character and vicissitudes of class passing.”—Marcia Landy, University of Pittsburgh
“At a time when studies of social class in media representation have taken a back seat to analyses of race and gender, Class-Passing, in daring and original fashion, maps and elaborates on contradictions in performing social class via the media and popular culture. The book is commendable for the range of examples that illustrate continuities and changes in representations of social class as well as their relation to treatments of race and gender. Foster’s innovative analysis is not restricted to cinema but includes television, advertising, etiquette books, popular manuals, and video games, providing a broad field from which to assess the character and vicissitudes of class passing.”—Marcia Landy, University of Pittsburgh
Additional information
| Dimensions | 1 × 6 × 9 in |
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