... the juve- nile female market.”24 Johnson likewise observes the extent to which the series has been discursively “overdetermined by its . . . gendered excesses.”25 Putting such claims in historical perspec- tive, Ellen Seiter discusses the earlier My Little Pony series, My Little Pony ’n...

... 47 48  •  Camera Obscura reformed with highbrow, upscale programming. Instead of accept- ing these so-called common sense declarations, we have tried to decipher the subtle ways in which viewers understand television. The title of Ellen Seiter et al.’s breakthrough essay on soap opera...

... Ellen Seiter invited me to contribute to a panel she was organizing on feminist aspects of Camera Obscura 63, Volume 21, Number 3 doi 10.1215/02705346-2006-017  © 2006 by Camera Obscura Published by Duke University Press 159 160  •  Camera Obscura West German film. My topic: recent...

... of power. The social identities, agendas, discourses, and practices of empirical researchers necessarily differ, at least in some ways, from those of their research subjects. Ellen Seiter observes, moreover, that "the social identities of academic researchers and [those] of our TV viewing subjects...

... to the field, but my own work probably benefits most from the scholars who have analyzed TV soap opera and melodrama: Robert Allen, Jeremy Butler, Charlotte Brunsdon, Jane Feuer, Sandy Flitterman- Lewis, Annette Kuhn, Tania Modleski, Ellen Seiter and so on. I find the work...

... are crucial to the field, but my own work probably benefits most from the scholars who have analyzed TV soap opera and melodrama: Robert Allen, Jeremy Butler, Charlotte Brunsdon, Jane Feuer, Sandy Flitterman- Lewis, Annette Kuhn, Tania Modleski, Ellen Seiter and so on. I find...

...-8 8. Response to Questionnaire on “The Female Spectator.” No. 20-21; pp. 279-282. Seiter, Ellen Response to Questionnaire on “The Female Spectator.” No. 20-21; pp. 2 82-2 8 6. Silverman, Kaja Back to the Future. No. 27; pp. 108-133. Fassbinder and Lacan...

... as they do familial love: “He responds to her and gradually comes to love her, before he learns that she is his grandchild.” Likewise, Dimples (dir. William A. Seiter, US, was advertised as a love story between Temple and her costar, Frank Morgan: “A new somebody for her to love . . . and what...

... father and lover is most clearly seen in It’s a Date (dir. William A. Seiter, US, Durbin plays Pamela Drake, an aspiring actress with a mother already established in the profession and with whom she competes for both the same stage role and the same older man, John Arlen (Walter Pidgen). Neither...

... essay shall demonstrate, Temple’s films did much more than update Uncle Tom’s legacy for Depression- era audiences. Films such as The Little Colonel (dir. David Butler, US, 1935), The Littlest Rebel (dir. David Butler, US, 1935), and Dimples (dir. William A. Seiter, US, 1936...

... industries’ feminized products for female youth primarily because of assumptions about girls’ inabilities to read critically or oppositionally. Ellen Seiter cautions against dismissing such artifacts outright, however, noting that we might miss seeing their potentially progressive...

... instance. Speaking from a later vantage point, Ellen Seiter voices the concern of many when she claims, “Psychoanalytic theory has blinded feminist film studies to the significance of race and class difference.” Others in this issue add to this differences of age, ethnicity and sexual prefer...

....” Seiter, Ellen. “Eco’s TV Guide: The Soaps.” Tabloid 5 (1982a): 36-43. -. “Promise and Contradiction: The Daytime Television Serial.” Film Reader 5 (1982b): 150-63. -. “Men, Sex, and Money in Recent Family Melodramas.” Journal of Film and Video 35, no. 1...

... York: Methuen, 1984) 99. 10. Audience studies suggest that while many soap fans miss occasional episodes or even watch irregularly, they do tend to assume that daily viewing is the ideal. See Ellen Seiter, Hans Borchers, Gabriele Kreutzner, 188 and Eva-Maria Warth, “‘Don’t...

..., West Germany, February 1987; to be published in Ellen Seiter et al. (eds Rethinking the Audience (Chapel Hill: University of North Carolina Press). 5. See James Clifford and George Marcus (eds Writing Culture: The Politics and Poetics ofEthnography (Berkeley/Los...

... to have known all long: Laurel and Hardy prove relevant as long as fraternal myths define a US male identity. Dressed in fraternal fezzes and sashes, Stan Laurel and Oliver Hardy pose in a publicity photo for Sons of the Desert (dir. William A. Seiter, US, 1933) Laurel and Hardy Queer...

... Holmlund, Lynne Joyrich, E. Ann Kaplan, Marsha Kinder, Annette Kuhn, Julia Lesage, Gina Marchetti, Judith Mayne, Patricia Mellencamp, Meaghan Morris, Margaret Morse, Constance Penley, Ellen Seiter, Lynn Spigel, Lesley Stern, and Chris Straayer. Significantly, two...

..., Television Culture (London: Methuen, 1987); the essays in Ellen Seiter et al., eds., Remote Control: Television, Audiences, and Cultural Power (London: Routledge, 1989); David Morley, Television, Audiences, and Cultural Studies (London: Routledge, 1992); Henry Jenkins, Textual Poachers...

... Imagination (London: Methuen, 1985). 83. Dorothy Hobson, “Soap Operas at Work,” in Remote Control: Television, Audiences, and Cultural Power, ed. Ellen Seiter et al. (New York: Routledge, 1991), 167. 148  •  Camera Obscura 84. As Lentz points out, a laugh track “acts to demarcate...