Andrew Owens
My research and teaching interests focus broadly on media historiography, global film and television history, genre studies, media industry studies, LGBTQ+/gender/critical race theories, and global occultism/witchcraft/magic(k).
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Articles by Andrew Owens
mediation of queer occultism during the 1960s and 1970s through sociocultural,
industrial, and textual analyses of ABC’s Gothic soap opera Dark Shadows. During
and even after its original run between June 1966 and April 1971, I argue that Dark
Shadows’ (oc)cult popularity was reinforced by the series’ narrative journeys into
fantastic pasts that assembled a genealogy of supernatural “otherness.” By fashioning
what Scott Bravmann has called such “queer fictions of the past,” meditations on
the non-normative politics and pleasures of historical discourses, Dark Shadows
introduced, and even made palatable, queer occultism to mainstream broadcast
audiences.
on how the sexually liberated woman might find empowerment by viewing male nudes, Playgirl’s reluctance to display full-frontal nudity until the midpoint of its first year fashioned an initially compromised aesthetic. Not only were women interpolated as untutored viewers within this regime of genital obstruction, but models also were all but emasculated. Consequently, the degree of male exposure that could be handled by both viewers and models was questioned, critiqued, and debated across Playgirl’s letters to the editor section, aptly entitled “In-ter-course.” As an artifact of sexual media history, Playgirl is invaluable because readers are able to trace throughout its pages
the ways in which changing tides of gendered power began to problematize pornography’s routine dichotomy between masculine subjectivity and female objectification.
Syllabi by Andrew Owens
Books by Andrew Owens
mediation of queer occultism during the 1960s and 1970s through sociocultural,
industrial, and textual analyses of ABC’s Gothic soap opera Dark Shadows. During
and even after its original run between June 1966 and April 1971, I argue that Dark
Shadows’ (oc)cult popularity was reinforced by the series’ narrative journeys into
fantastic pasts that assembled a genealogy of supernatural “otherness.” By fashioning
what Scott Bravmann has called such “queer fictions of the past,” meditations on
the non-normative politics and pleasures of historical discourses, Dark Shadows
introduced, and even made palatable, queer occultism to mainstream broadcast
audiences.
on how the sexually liberated woman might find empowerment by viewing male nudes, Playgirl’s reluctance to display full-frontal nudity until the midpoint of its first year fashioned an initially compromised aesthetic. Not only were women interpolated as untutored viewers within this regime of genital obstruction, but models also were all but emasculated. Consequently, the degree of male exposure that could be handled by both viewers and models was questioned, critiqued, and debated across Playgirl’s letters to the editor section, aptly entitled “In-ter-course.” As an artifact of sexual media history, Playgirl is invaluable because readers are able to trace throughout its pages
the ways in which changing tides of gendered power began to problematize pornography’s routine dichotomy between masculine subjectivity and female objectification.