By Bryan Cogman
HBO's Game of Thrones reigns as cable's highest-rated sequence. This professional significant other e-book supplies enthusiasts new how one can input this fictional international and observe extra concerning the liked (and reviled) characters and the electrifying plotlines. hundreds and hundreds of set photographs, creation and dress designs, storyboards, and insider tales show how the show's creators translated George R. R. Martin's best-selling myth sequence into the area of Westeros. that includes interviews with key actors and team participants that trap the simplest scripted and unscripted moments from the 1st seasons, in addition to a preface by means of George R. R. Martin, this distinctive quantity, sure in a lavishly debossed padded disguise, bargains particular entry to this unparalleled tv sequence.
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Extra info for Inside HBO's Game of Thrones
Why should they call attention to the real causes of poverty and inequality and risk generating friction among the classes? Media executives do not particularly care if the general public criticizes popular-cultural content as long as audiences do not begin to question the superstructure of media ownership and the benefits these corporations derive from corporate-friendly public policies. According to sociologist Karen Sternheimer: Media conglomerates have a lot to gain by keeping us focused on the popular culture “problem,” lest we decide to close some of the corporate tax loopholes to fund more social programs … In short, the news media promote media phobia because it doesn’t threaten the bottom line.
When the media do provide coverage of the poor and homeless, individuals in these categories are portrayed, at best, as deserving our sympathy on holidays or after disaster has struck. In these situations, those in the bottom classes are depicted as being temporarily down on their luck or as working hard to get out of their current situation but in need of public assistance. At worst, however, the poor are blamed for their own problems, and the homeless are stereotyped as bums, alcoholics, and drug addicts, caught in a hopeless downward spiral because of their individual pathological behavior.
Judith Butler has described gender identity as performative, noting that social reality is not a given but is continually created as an illusion “through language, gesture, and all manner of symbolic social sign” (see Judith Butler, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,” in Performing Feminisms: Feminist Critical Theory and Theatre, ed. Sue-Ellen Case [Baltimore: Johns Hopkins University Press, 1990], 270). In this sense, class might also be seen as performative, in that people act out their perceived class location not only FRAMING CLASS, VICARIOUS LIVING, AND CONSPICUOUS CONSUMPTION 45 in terms of their own class-related identity but in regard to how they treat other people, based on their perceived class position.