Shania Twain Shakes Up Country Music
2014; Wiley; Volume: 47; Issue: 5 Linguagem: Inglês
10.1111/jpcu.12186
ISSN1540-5931
Autores Tópico(s)American Sports and Literature
ResumoThe Journal of Popular CultureVolume 47, Issue 5 p. 1015-1029 Article Shania Twain Shakes Up Country Music James Mandrell, James MandrellSearch for more papers by this author James Mandrell, James MandrellSearch for more papers by this author First published: 10 October 2014 https://doi.org/10.1111/jpcu.12186Citations: 1Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Works Cited Andsager, Julie L., and Kimberly Roe. “Country Music Video In Country's Year Of The Woman.” Journal of Communication 491 (1999): 69–82. Print. 10.1111/j.1460-2466.1999.tb02782.x Web of Science®Google Scholar Besigiroha, Linda. “ Independent Women? Feminist Discourse In Music Videos.” Gendered (Re)Visions: Constructions of Gender in Audiovisual Media. Göttingen, Germany: V&R, 2010. 227–52. Print. Google Scholar Bronski, Michael. Culture Class: The Making of Gay Sensibility. Boston: South End Press, 1984. Print. Google Scholar Bronski, Michael. The Pleasure Principle: Sex, Backlash, and the Struggle for Gay Freedom. New York: St. Martin's Press, 1998. Print. Google Scholar Burns, Lori, and Jada Watson. “Subjective Perspectives Through Word, Image And Sound Temporality, Narrative Agency And Embodiment In The Dixie Chicks’ Video ‘Top Of The World.’” Music, Sound, and the Moving Image 41 (2010): 3–37. Print. 10.3828/msmi.2010.1 Google Scholar Cash, Johnny. “ A Boy Named Sue.” At San Quentin. Columbia, 1968. LP. Google Scholar Catlin, Roger. “Shania Shakes ‘Em Up: Twain's Pop Bent Clashes with Nashville Country.” The Hartford Courant 25 November 1999, Statewide ed.: CAL 18. Print. Google Scholar Considine, J. D. “Honky-Tonk Woman.” Rev. of Come on Over, by Shania Twain, and “The Other Side,” by Wynonna Judd. Entertainment Weekly 14 November 1997: 88. Print. Google Scholar Curry, Ramona. “Madonna from Marilyn to Marlene—Pastiche and/or Parody?” Journal of Film and Video 42.2 (1990): 15–30. Print. Web of Science®Google Scholar Dark, Jane. “Like a Woman!” Rev. of Come on Over, by Shania Twain. The Village Voice 18 November 1997: 95. Print. Google Scholar Doty, Alexander. Making Things Perfectly Queer: Interpreting Mass Culture. Minneapolis: U of Minnesota P, 1993. Print. Google Scholar Eddy, Chuck. Rev. of Come on Over, by Shania Twain. Rolling Stone 11 Dec. 1997: 80. Print. Google Scholar Fox, Pamela. Natural Acts: Gender, Race, and Rusticity in Country Music. Ann Arbor: U of Michigan P, 2009. Print. 10.3998/mpub.277898 Google Scholar Fenster, Mark. “Country Music Video.” Popular Music 7.3 (1988): 285–302. Print. 10.1017/S0261143000002956 Google Scholar Fenster, Mark. “ Genre and Form: The Development of the Country Music Video.” Sound and Vision: The Music Video Reader. Ed. Simon Frith, Andrew Goodwin, and Lawrence Grossberg. London: Routledge, 1993. 109–28. Print. Google Scholar Greenwood, Lee. “ God Bless the U.S.A.” You've Got a Good Love Comin’. MCA Nashville, 1984. LP. Google Scholar Hedegaard, Erik. “Shania Twain: Even Showgirls Get the Blues.” Rolling Stone 3 Sept. 1998: 52–57, 111. Print. Google Scholar Hennessy, Rosemary. “Queer Visibility and Commodity Culture.” Cultural Critique 29(1994–1995): 31–76. Print. 10.2307/1354421 Google Scholar Hunter, James. “ Oh, Sister, Where Art Thou?” Jan. 2002. Web. 1 June 2014. Google Scholar Hurley, Jennifer M. “Music Video and the Construction of Gendered Subjectivity: or How Being a Music Video Junkie Turned Me into a Feminist.” Popular Music 13.3 (1994): 327–38. Print. 10.1017/S0261143000007236 Google Scholar Jackson, Alan. “ Where Were You (When the World Stopped Turning).” Drive. Arista Nashville, 2001. CD. Google Scholar Jagose, Annamarie. Queer Theory: An Introduction. New York: New York UP, 1996. Print. Google Scholar Jensen, Joli. “ Patsy Cline's Crossovers: Celebrity, Reputation, and Feminine Identity.” McCusker and Pecknold 107–31. Print. Google Scholar Kaplan, E. Ann. Rocking Around the Clock: Music Television, Postmodernism, and Consumer Culture. New York: Routledge, 1987. Print. Google Scholar Keel, Beverly. “ Between Riot Grrrl and Quiet Girl: The New Women's Movement in Country Music.” McCusker and Pecknold 155–77. Print. Google Scholar Keith, Toby. “ Courtesy of the Red, White and Blue (The Angry American).” Unleashed. DreamWorks Nashville, 2002. CD. Google Scholar Lewis, Lisa A. Gender Politics and MTV: Voicing the Difference. Philadelphia: Temple UP, 1990. Print. Google Scholar Lonc, Christopher. “ Genderfuck and Its Delights.” Gay Roots: Twenty Years of Gay Sunshine. An Anthology of Gay History, Sex, Politics, and Culture. Ed. Winston Leyl. San Francisco: Gay Sunshine Press, 1991. 223–26. Print. Google Scholar Madonna. “ Express Yourself.” Dir. David Fincher. Sire-Warner Brothers, 1989. Video. Google Scholar Madonna. Like a Prayer. Sire-Warner Brothers, 1989. LP, cassette, CD. Google Scholar McCusker, Kristine, and Diane Pecknold. A Boy Named Sue: Gender and Country Music. Jackson, MS: UP of Mississippi, 2004. American Made Music Series. Print. Google Scholar McGee, David. Rev. of Shania Twain, by Shania Twain. Rolling Stone 25 Nov. 1993: 112. Print. Google Scholar Mitchell, Rick. “Country Carpetbagger.” Rev. of Come on Over, by Shania Twain. The Houston Chronicle 2 November 1997, 2 Star Edition: Zest 6. Print. Google Scholar Nash, Alanna. “In Short: Country.” Rev. of Toby Keith, by Toby Keith, John Brannen, by John Brannen, and Shania Twain, by Shania Twain. Entertainment Weekly 21 May 1993: 51. Print. CASGoogle Scholar Neal, Jocelyn R. “ Dancing Together: the Rhythms of Gender in the Country Dance Hall.” McCusker and Pecknold 132–53. Print. Google Scholar Neimark, Jill. “The Beefcaking of America.” Psychology Today November/December 1994: 32–39, 70, 72. Print. Google Scholar O Brother, Where Art Thou? Mercury, 2000. CD. Google Scholar Palmer, Robert. “ Addicted to Love.” Dir. Terence Donovan. Island, 1986. Video. Google Scholar Palmer, Robert. “ I Didn't Mean to Turn You On.” Dir. Terence Donovan. Island, 1986. Video. Google Scholar Palmer, Robert. Heavy Nova. EMI, 1988. CD. Google Scholar Palmer, Robert. “ Simply Irresistible.” Dir. Terence Donovan. EMI, 1988. Video. Google Scholar Palmer, Robert. Riptide. Island, 1985. CD. Google Scholar Parsons, Clark. “Twain of Command.” Journal of Country Music 18.3 (1996): 13–8. Print. Web of Science®Google Scholar Pecknold, Diane. “ ‘I Wanna Play House’: Configurations of Masculinity in the Nashville Sound Era.” McCusker and Pecknold 86–106. Print. Google Scholar Potter, Mitch. “Born-again Earle Disgusted with His Creation: New Country's Poet Has Found His, but Says the Music Has Lost its Soul.” Toronto Star 21 November 1995, metro ed.: E1. Print. Google Scholar Rand, Erica. Barbie's Queer Accessories. Durham: Duke UP, 1995. Print. 10.1215/9780822399247 Google Scholar Real McCoy. One More Time. Arista, 1997. CD. Google Scholar Roberts, Robin. “Independence Day: Feminist Country Music Videos.” Popular Music and Society 20.1 (1996): 135–54. Print. 10.1080/03007769608591615 Google Scholar Sender, Katherine. “Selling Sexual Subjectivities: Audiences Respond to Gay Window Advertising.” Critical Studies in Mass Communication 16 (1999): 172–96. Print. 10.1080/15295039909367085 Web of Science®Google Scholar Simpson, Mark. “ Metrosexuals: Male Vanity Steps Out of the Closet.” It's a Queer World: Deviant Adventures in Pop Culture. New York: Haworth Press, 1999. 207–10. Print. Gay and Lesbian Studies: Essays. Google Scholar Twain, Shania. Come On Over. Mercury, 1997. CD. Google Scholar Twain, Shania. “ Dance with the One That Brought You.” Dir. Sean Penn. Mercury, 1993. Video. Google Scholar Twain, Shania. “ (If You're Not in It for Love) I'm Outta Here!” Dir. Steven Goldmann. Mercury, 1995. Video. Google Scholar Twain, Shania. “ Man! I Feel like a Woman.” Come On Over. Mercury, 1997. CD. Google Scholar Twain, Shania. “ Man! I Feel like a Woman.” Dir. Paul Boyd. Mercury, 1999. Video. Google Scholar Twain, Shania. Shania Twain. Mercury, 1993. CD. Google Scholar Twain, Shania. “ That Don't Impress Me Much.” Come On Over. Mercury, 1997. CD. Google Scholar Twain, Shania. “ That Don't Impress Me Much.” Dir. Paul Boyd. Mercury, 1998. Video. Google Scholar Twain, Shania. “ What Made You Say That?” Dir. Steven Goldmann. Mercury, 1993. Video. Google Scholar Twain, Shania. The Woman in Me. Mercury, 1995. CD. Web of Science®Google Scholar Twain, Shania. “ You're Still the One.” Dir. David Hogan. Mercury, 1998. Video. Google Scholar Warner, Michael, ed. Fear of a Queer Planet: Queer Politics and Social Theory. Minneapolis: U of Minnesota P, 1993. Cultural Politics 6. Print. Google Scholar Watson, Jada, and Lori Burns. “Resisting Exile and Asserting Musical Voice: The Dixie Chicks Are ‘Not Ready to Make Nice’.” Popular Music 29.3 (2010): 325–50. Print. 10.1017/S0261143010000231 Web of Science®Google Scholar Wilson, Janelle. “Women in Country Music Videos.” ETC: A Review of General Semantics 57.3 (2000): 290–303. Print. Google Scholar Zimmerman, David. “Super Slick Pop Follow-up Misses Country by a Mile.” Rev. of Come on Over, by Shania Twain. USA Today 2 Nov. 1997: D4. Print. Google Scholar Citing Literature Volume47, Issue5October 2014Pages 1015-1029 ReferencesRelatedInformation
Referência(s)