Convergent Wrestling

This book examines how the current era of "convergence" has affected, and is reflected in, the world of professional wrestling, which combines several different genres, including drama, action, comedy, horror, science fiction, and even romance. Professional wrestling’s business practices exist at the intersection of bottom-up fan-centric strategies and strict top-down corporate control. Meanwhile, the wrestlers themselves combine aspects of carnival hucksters, actors/actresses, comedians, superheroes, martial artists, or stuntmen, and the narratives consist of everything from social critique to geopolitical allegories, and from soap opera melodramas to stereotyped exploitation. Bringing together the latest scholarship in the field, Convergent Wrestling analyzes various texts, business practices, and fan activities to explore the commonalities that define professional wrestling and consider how it exists in today’s new media ecology. In addition, the book considers the professional wrestling industry from several different angles, from massive multinational conglomerate World Wrestling Entertainment (WWE) to local indie federations. As such, it will appeal to scholars with interests in popular culture, media and cultural studies, and fan practices.

Professional Wrestling and the Commercial Stage examines professional wrestling as a century-old, theatrical form that spans from its local places of performance to circulate as a popular, global product. Professional wrestling has all the trappings of sport, but is, at its core, a theatrical event. This book acknowledges that professional wrestling shares many theatrical elements such as plot, character, scenic design, props, and spectacle. By assessing professional wrestling as a neglected but prototypical case study in the global business of theatre, Laine argues that it is an exemplary form of globalizing, commercial theatre. He asks what theatre scholars might learn from pro wrestling and how pro wrestling might contribute to conversations beyond the ring, by considering the laboring bodies of the wrestlers, and analyzing wrestling’s form and content. Of interest to scholars and students of theatre and performance, cultural studies, and sports studies, Professional Wrestling and the Commercial Stage delimits the edges of wrestling’s theatrical frame, critiques established understandings of corporate theatre, and offers key wrestling concepts as models for future study in other fields.

This book of empirical studies analyzes examples of televisual shared universes since the 1960s to understand how the nature of televised serial narratives and network corporate policies have long created shared storyworlds. While there has been much discussion about shared cinematic universes and comic book universes, the concept has had limited exploration in other media, such as those seen on the smaller screen. By applying convergence culture and other contemporary media studies concepts to television’s history, contributors demonstrate the common activities and practices in serial narratives that align older television with contemporary television, simultaneously bridging the gap between old media and new media studies. Scholars of film studies, media studies, and popular culture will find this book of particular interest.

In this book, Lowery A. Woodall III explores the ways that diverse populations are portrayed, stereotyped, and sometimes villainized in the WWE’s colorful and dramatic programming. Each chapter examines the surprisingly complex and multilayered representation of marginalized populations throughout the modern history of the WWE under the leadership of Vincent K. McMahon. Through weekly shows like Raw and SmackDown, pay-per-view spectaculars like WrestleMania, and a vast library of wrestling-related material on their streaming platform, Woodall argues that the WWE and McMahon have created calculated and carefully curated representations of diversity that are viewed by millions of fans worldwide. What effects do those representations have on the men, women, and children who consume WWE content? How are wrestlers and performers impacted by their on-screen portrayals? This book explores these questions and demonstrates that when representations are inaccurate or problematic, more than just kayfabe is in danger of being broken. Scholars of professional wrestling studies, media studies, and communication studies will find this book of particular interest.

This innovative collection argues that modern sport can be characterized by problematic power relations linked to violence, harm, deviance, and punishment. On the one hand, sport is a mainstay of community building, an expression of solidarity, and a means to mental and social health. On the other, there is the star player who commits sexual violence, the trans athlete whose achievements are dismissed as fraudulent, or the racist nationalism of the impassioned sports fan. Power Played illuminates how criminal/judicial discourses and practices reinforce social inequalities and blows the whistle on the harm, violence, and exploitation embedded in sport.

When the first Fast & Furious film was released in June 2001, few predicted that it would be a box office hit, let alone the launchpad for a multi-billion-dollar franchise. A mid-budget crime movie set around L.A.'s underground car-racing scene, featuring a cast of relative unknowns, the film became one of the surprise hits of that summer, earning more than 5 times its budget in worldwide ticket sales. 2 decades and 9 films later, Fast & Furious today ranks among the 10 highest-grossing movie franchises of all time, with a box office total of $6.6 billion and has also given rise to an animated TV show and theme park ride. Full-Throttle Franchise is the first book to offer an in-depth analysis of the Fast & Furious, bringing together a range of scholars to explore not only the style and themes of the franchise, but also its broader cultural impact and legacy. The collected essays establish the franchise's importance in cinematic and ideological terms, linking their discussions to wider issues of genre, representation, adaptation, and industry. Topics range from stardom and performance, focusing on key actors Vin Diesel and Dwayne Johnson, to the way in which Fast & Furious intersects with dominant ideas of racial, gender, and sexual identity. Aimed at both scholars and fans, Full-Throttle Franchise seeks to uncover just what has made Fast & Furious so enduringly popular, mapping its outrageous set pieces, ever-expanding universe, and growing cast of global megastars in terms of wider cultural and industrial forces.

This volume examines the shift toward positive and more accurate portrayals of mental illness in entertainment media, asking where these succeed and considering where more needs to be done. With studies that identify and analyze the characters, viewpoints, and experiences of mental illness across film and television, it considers the messages conveyed about mental illness and reflects on how the different texts reflect, reinforce, or challenge sociocultural notions regarding mental illness. Presenting chapters that explore a range of texts from film and television, covering a variety of mental health conditions, including autism, post-traumatic stress disorder (PTSD), depression, and more, this book will appeal to scholars of sociology, cultural and media studies, and mental health.

This book takes an innovative fan studies approach to investigating one of the most pressing issues of contemporary times: polarization. Drawing on three years of observational data from Facebook political discussions, as well as interviews and survey responses from those heavily engaged in online political debate, Barnes argues a fan-like investment in a political perspective initiates and drives polarization. She calls on us to move beyond the traditional Habermasian approach to political discussion, which privileges the rational and deliberative, and instead focus on how we perform the self. How we behave in these online debates is part of a performance, a performance of self, in which an affective investment in a particular political perspective drives a need to contribute, refute and ‘other’ those opposing. Because this performance stems from an emotional basis, judgments and contributions are often not rational or factual, but rather a form of establishing and defending an identity.