Lumpentheorist; abolitionist; critic of whiteness, workerist cosmogony, and the ableism of the Left. Masks are empathy fashion. Own it—make it yours. Intricate words fulfill me: Anticipate jargon here. Semantic critique ain't your jam? Don't whinge—just go away. Ace enby aphant WP in #NYC. they/them/gonzo/whatever If you would throw me and mine to the wolves so to claim victory over those wolves, you can take your Democratic National Chamberlain 🤡ass to someone else's mentions.
Lumpentheorist; abolitionist; critic of whiteness, workerist cosmogony, and the ableism of the Left. Masks are empathy fashion. Own it—make it yours. Intricate words fulfill me: Anticipate jargon here. Semantic critique ain't your jam? Don't whinge—just go away. Ace enby aphant WP in #NYC. they/them/gonzo/whatever If you would throw me and mine to the wolves so to claim victory over those wolves, you can take your Democratic National Chamberlain 🤡ass to someone else's mentions.
Google Scholar was getting me nowhere, which is why ended up posting here, as all the articles it was turning up were about the production and distribution processes, where my question goes to public reception and subsequent reverberations in later visual arts.
The switch isn't my interest. The generational imprinting is. Hence the home video angle sounds promising. For instance, have a very distinct recollection of a throwaway gag scene, in latter era nostalgic animated programming, depicting a representation of the live action martial arts broadcasts of the time, with even more exaggerated elongation of bodies on the vertical. This being a semiotic pastiche immediately recognizable to those of a certain generation.
Last century Usenet will be useful to dig into. Though it may be a bit too early for the trends to even have appeared. Folk who grew up watching that stuff had to become established in media industries for the influence to begin manifesting in new media.
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