Banet-Weiser’s “Is Nick for Kids?” or Halberstam’s “Animating Revolt and Revolting Animation”)

eek 8 Discussion – Kids Camp Please engage at least one of this week’s articles (and at least one of the week’s “suggested screenings” (Rocko’s Modern Life, “Closet Clown” or Adventure Time, “What Was Missing?”) to craft an organized and coherent 300-500 word response to the week’s material. You may choose to address any one or multiple of the below prompts and/or pose your own questions, critiques, and assessments. Please address specific and relevant aesthetic/thematic/narrative details about the episode(s), though, and use direct quotes or substantive paraphrases of the readings. You may start with some summary but synopsis should not comprise the bulk of your post. Please note that you will NOT be able to view your classmates’ writings until after you have submitted. I encourage you, though, to interact with/respond to your classmates’ posts – this discussion could factor into your class participation assessment! Some questions you might choose to consider (you do not need to answer all of them): • How do Banet-Weiser and/or Halberstam define “queer” or “camp” narrative or aesthetic elements of children’s media? How do these authors recognize camp coding as written into the text at the level of industry? Do you agree or disagree with their assessments of 1990s/2000s/2010s kids’ media and its creative contexts? • What elements of reception (if any) do our authors engage? How do you understand Rocko’s Modern Life’s and/or Adventure Time’s forms of audience address? • How would you describe Rocko’s Modern Life and/or Adventure Time in terms of genre, and do you see thematic/stylistic/social/political overlaps between these programs and other television texts we have analyzed this quarter? • How might you reconcile these programs’ marketing incentives/network brandings with their queer or camp modes of engagement? Do you find the shows themselves exploitative, transgressive, progressive, reactionary or some combination thereof? • Who remains left-out of camp or queer “play” within these episodes and their prospective audiences, and how/why? What might these episodes or their industrial contexts reveal about the social/political limitations of camp in kids’ media? I upload readings but for the video please find by yourself. Thank you! Please follow the guideline very carefully and write correctly If you have any question please ask me Thank you! …
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