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• W2600668467 abstract "Each issue of Americana: The Journal of American Popular Culture (1900 to present) we feature an interview, or a conversation, with a preeminent scholar in the field of American popular culture studies. This fall 2004 edition, we are featuring Paul A. Cantor who is the Clifton Waller Barrett Professor of English at the University of Virginia. After graduating from Harvard University, he went on to publish myriad articles and books including: Macbeth und die Evangelisierung von Schottland, Shakespeare: Hamlet, Creature and Creator: Myth-making and English Romanticism, and Shakespeare's Rome: Republic and Empire. In a world of categories, labels, genres, Professor Cantor has proven himself to be remarkably resistant, publishing on Oscar Wilde one day, on Salman Rushdie another, on Samuel Beckett another, and then winning the Ludwig von Mises Prize for Scholarship in Austrian School Economics on yet another.His diverse research interests have manifested themselves once again with the publication of his latest book, Gilligan Unbound: Pop Culture in the Age of Globalization, in which he turns his academic eye to four popular American television shows: Gilligan's Island, Star Trek, The Simpsons, and The X-Files.------------Last winter, we discussed Gilligan Unbound with Professor Cantor.What caused an English professor, albeit one with diverse research interests, to turn his attention from Shakespeare, for example, to media studies, broadly, and television, in particular? Although we did note that Shakespeare came in handy in a few of your arguments.Gilligan Unbound did not really mark any kind of abrupt turn in my attention. I've always been interested in popular culture--I've been a fan of TV almost from its inception--I've always liked to talk about it seriously with like-minded people. And I've always used popular culture as a reference point when I discuss serious literature. For example, when I would lecture on the revenge motif in Shakespeare's Richard III, I'd refer to the Godfather movies. Or I would show how the Hollywood sequel principle is already at work in Shakespeare's history plays--Henry IV, Part One was a success and so Shakespeare followed it up with Part Two. It was quite natural for me eventually to get around to writing directly about some of the television shows I've been interested in.You dedicate your book in memory of your devoted VCR, Sony SLV-420. Tell us about that special relationship.Well, some things are not easy to speak about in public. Let's just say that I spent a lot of nights with that VCR, and one thing led toanother--some rewinds, a lot of fast forwards, every now and then a pause or two--and let's face it--eventually it just wore out. The VCR, I mean.Some English departments shun popular culture studies. Did you find any such resistance when you embarked on Gilligan Unbound: Pop Culture in the Age of Globalization?I really wonder if there are any English departments left that shunpopular culture studies. If anything, I think it's just the opposite--cultural studies is crowding out the traditional study of literature, and I actually regret that.In any case, I certainly did not encounter any resistance in the course of working on Gilligan Unbound. It became a book because the individual studies from which it emerged were greeted with so much enthusiasm. The Simpsons essay won a prize at the American Political Science Association conference for which it was written. The lectures I gave on Gilligan's Island and Star Trek were always very well attended and provoked spirited discussions.I never intended to create a book out of this material, but the reception it received encouraged me to do so. A very few colleagues let it be known that they thought I was wasting my time, but most of them welcomed what I was doing. And students were particularly encouraging.You mention that this book started, as many do, with public lectures. …" @default.
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