In the peanut gallery with Mystery Science Theater 3000
Subtitle: essays on film, fandom, technology, and the culture of riffing
By: edited by Robert G. Weiner and Shelley E. Barba ; forewords by Kevin Murphy and Robert Moses Peaslee ; afterword by Mary Jo Pehl
Publisher: McFarland
Published: 2011
Place of publication: Jefferson, N.C
Language: eng
Number of pages: 265
ISBN-13: 9780786445325
Subjects: Motion pictures; Reviews; Mystery science theater 3000
Description: "Mystery Science Theater 3000 featured a human host and a pair of robotic puppets who provided commentary on some of the worst films ever made. This is the first full-length scholarly analysis of Mystery Science Theater 3000 which blossomed from humble beginnings on Minnesota public-access television into a cultural phenomenon on major cable networks"--Provided by publisher.
Notes: Includes bibliographical references and index.
Table of contents: title: Acknowledgments --; title: Foreword: Riffing and you (and riffing )  -- by Kevin Murphy; title: Foreword  -- by Robert Moses Peaslee; title: Introduction  -- by Robert G. Weiner and Shelley E. Barba -- PART ONE.; title: DIRECTORS --; title: There's been an accident at the studio: How we made hobgoblins!  -- Rick Sloane; title: "Remember: Only you can prevent Roger Corman": The king of the Bs under siege  -- Cynthia J. Miller -- PART TWO.; title: SPECIFIC FILMS --; title: Communists and cosmonauts in Mystery science theater 3000: De-Camping East Germany's First spaceship on Venus/Silent star  -- Sebastian Heiduschke; title: The semiotics of spaceflight on the satellite of love  -- Matthew H. Hersch; title: Resurrecting the dead: Revival of forgotten films through appropriation -- Cheryl Hicks; title: PART THREE.; title: FANDOM --; title: Becoming "The right people": fan-generated knowledge building  -- Kris M. Markman and John Overholt; title: Converging fan cultures and the labors of fandom  -- Megan Condis; title: "Consume excrement and thus expire": conflict resolution, "fantagonism," and alt.tv.mst3k  -- Jeremy Groskopf; title: Cinemasochism: bad movies and the people who love them  -- David Ray Carter -- PART FOUR.; title: MEDIA TEXTS, AUDIENCES, AND THE CULTURE OF RIFFING --; title: Double poaching and the subversive operations of riffing: "You kids with your hoola hoops and your Rosenbergs and your Communist agendas"  -- Ora Mcwilliams and Joshua Richardson; title: Frame work, resistance and co-optation: how Mystery Science Theater 3000 positions us both in and against hegemonic culture  -- Michael Dean; title: "Not too different from you or me": the paradox of fiction, joint attention, and longevity -- Michael David Elam; title: Mystery Science Theater 3000: a media-centered exploration  -- Zachary Grimm; title: Authorship and text remediation in Mystery Science Theater 3000  -- Kaleb Havens -- PART FIVE.; title: MENTAL HYGIENE: THE MST3K SHORTS --; title: "People were Whiter back then": film placement and in-theater commentary as sociopolitical dialogue  -- Erin Giannini; title: Endearing educational shorts  -- Amanda R. Keeler; title: Writing history with riffs: the historiography of the "shorts"  -- Miranda Tedholm -- PART SIX.; title: SATIRE AND GENDER --; title: Robot roll call: Gypsy! (Hi girls!)  -- Michele Brittany; title: What's the difference? Satire and separation in that "Little Puppet Show"  -- Alana Hatley -- PART SEVEN.; title: TECHNOLOGY AND EPISODE COLLECTING --; title: Design and speculative technology of MST3K: Joel Hodgson and Trace Beaulieu at MIT -- Jason Begy and Generoso Fierro; title: "Cambot eye": the synthesis of man, machine and spectatorship  -- Danielle Reay; title: MSTies and mastery: circulating the tapes in a digital age  -- Joseph S. Walker -- PART EIGHT.; title: HISTORY AND PRE-HISTORY --; title: "Hamlet will return in Thunderball": historical precedents of riffing  -- Mark Mcdermott; title: From techno-isolation to social reconciliation  -- E. Mitchell; title: Fishing with cheese on a Blood Hook: MST3K's unlikely origins on a lake in the woods of Wisconsin  -- Robert G. Weiner; title: Afterword -- Mary Jo Pehl.