13 Reasons Why

Статья посвящена актуальным проблемам изучения сленга. В статье описаны результаты анализа использования сленга американскими учащимися старшей школы, их родителями и учителями в возрастном, гендерном, ситуативном и эмоциональном аспектах (кроме прочего, учитывалось ментальное здоровье коммуниканта). Анализ произведён на разных уровнях языках(фонетическом, лексическом, синтаксическом).

This paper examines the ways in which television imagines the relationship between creators and audiences in the contemporary media landscape. This is developed through an examination of the inaugural seasons of three American television dramas that debuted between October 2016 and March 2017: Netflix’s The OA and 13 Reasons Why and HBO’s Westworld; all three series featured the character of a storyteller who was killed within the narrative, in what was presented as an act of collaboration between the storyteller and their audience. We will question whether new participatory modes of media engagement truly engender ‘the birth of the viewer’ through a symbolic ‘killing’ of the creator, or merely serve to reaffirm the authority of the creator, reimagining the author-function as a powerful marketing brand.

The release of the Netflix series 13 Reasons Why (13RW) was met with vehement backlash from individual viewers, medical institutions, and scholars around the globe. Many claimed that the show’s gruesome portrayal of suicide would cause viewers dangerous psychological distress—particularly because the show was aimed at teen audiences. While these concerns about a potential contagion effect are valid for some viewers, a broader view of 13RW reveals a pedagogical text that can impact, but not determine, the actions of its viewers. As such, I frame 13RW as a form of scientific pedagogy that engages audiences in productive ways, specifically through its emphasis on scientific and narrative uncertainty. The show provides medically accurate information about suicide’s risk factors based on current research while also engaging with the uncertain, incompleteness of that information. I argue that this format effectively democratizes knowledge about suicide prevention and allows audiences to learn about suicide in a constructive manner that shows lay people have the power to engage in both prevention and building knowledge about the subject.

In this doctoral dissertation, I analyze contemporary Anglophone suicide cinema from the perspectives of taboo and biopower. The aim is to investigate, first, how films with suicide participate in the practices of self-willed death’s biopowered regulation. Biopower refers to Michel Foucault’s theories of the regulation of individuals’ lives and deaths through normative techniques directed at their bodies, sexuality and death. Second, I inspect how cinema both reflects and renews suicide’s tabooed position. In the theories of Mary Douglas, Franz Steiner and Valerio Valeri, taboo is approached as a normative structure with the function of protecting society from particular kinds of dangers; this structure is empowered by ideas of dirt and contagion in such instances where these classificatory borders and collectively agreed values are threatened or breached. By employing discourse analysis, semiology and several methods of visual analysis, I combine visual cultural analysis of contemporary cinematic representations of suicide with theoretically oriented considerations of taboo and biopower. I investigate what kinds of cultural meanings of suicide are created through its cinematic representations and connect these meanings to the normative and classificatory functions of biopower and taboo. The research materials are a corpus of 50 Anglophone feature films produced between 1985 and 2014. The research also includes three case studies of the films Unfriended (2014), Vanilla Sky (2001) and The Moth Diaries (2011) and of the first season of the Netflix series 13 Reasons Why (2017). The central argument in the dissertation is that, in the corpus examined, suicide cinema reflects suicide’s tabooed ontology and status in its othering, marginalizing, stigmatizing, domesticating and pornifying tendencies. I also argue that taboo and biopower are present in the fears of contagion that occasionally justify the censorship of suicide’s representations. Further, I maintain that suicide cinema participates in suicide’s subjugation to biopower, especially in its gendered and medicalized aspects. Hundreds of titles featuring suicide are released every year in the popular medium of Anglophone cinema. Understanding the role of taboo and biopower in these wide-ranging representations can help reveal the curious dynamic by which suicide is heavily represented in the media while it is silently struggled with and mourned in real life as a shameful death.

“Dying is an art, Like everything else I do it Exceptionally well”
                                                                                                  - Sylvia Plath
Never underestimate the power of Human mind. It can make you go towards any extreme conditions. The ultimate beauty of the mind is it can opt for its self-annihilation and even finds pleasure in it, as it happens in the cases of Sylvia Plath and Virginia Woolf. The recent one is Hannah Baker, the protagonist of James Asher's novel '13 Reasons Why'. When creativity and emotivity goes very wild, most of us fail to manage the imbalance and maintain the phase of coordination. Suicide or Self-destruction demands much determination and courage than all the world can do for facing the problems and harsh realities of the life. This paper throws light upon the beauty of self-annihilation or suicide in relation with the aforementioned contexts, texts and how beautifully it was portrayed as an art form in literature.

Keywords : Self-annihilation, Human rights, Beauty of Mind, Wilderness etc.

Full-text available for this Shiloh blog available at https://www.shilohproject.blog/tag/thirteen-reasons-why/

David Tombs, ‘Abandonment, Rape, And Second Abandonment: Hannah Baker In 13 Reasons Why And King David’s Concubines In 2 Samuel 15–20’, Shiloh Project Blog Post (18 October 2017).

Note
This bible study was first developed for SCM Otago 5 May 2017. It was published as a Shiloh Blog on 18 October 2017, and subsequently as a chapter: David Tombs, ‘Abandonment, Rape, and Second Abandonment: Hannah Baker in 13 Reasons Why and the Royal Concubines in 2 Samuel 15-20’ in Caroline Blyth, Emily Colgan, Katie Edwards (eds.) Rape Culture, Gender Violence and Religion: Biblical Perspectives. London: Palgrave Macmillan, 2018), pp. 117-41; https://doi/org/10.1007/978-3-319-70669-6_8.

Resumo: O objetivo deste trabalho é analisar algumas potências narrativas transmídia da série 13 Reasons Why, através dos paratextos orientadores identificados no site 13reasonswhy.info. Lançada em 2017, a trama seriada provocou grandes debates sobre o suicídio na adolescência abordado na narrativa. Aplicando o conceito Orienting Paratexts abordado por Jason Mittell (2015), demonstra-se como a produção da série utiliza o site para informar os espectadores sobre os acontecimentos daquele universo.

Full-text available on request or author manuscript for this chapter available at http://hdl.handle.net/10523/12762.

Earlier version of text for Shiloh Project Blog (2017) is available at https://www.shilohproject.blog/abandonment-rape-and-second-abandonment-hannah-baker-in-13-reasons-why-and-king-davids-concubines-in-2-samuel-15-2/
Publisher's web-page for book: https://link.springer.com/chapter/10.1007/978-3-319-70669-6_8.

David Tombs, ‘Abandonment, Rape, and Second Abandonment: Hannah Baker in 13 Reasons Why and the Royal Concubines in 2 Samuel 15-20’ in Caroline Blyth, Emily Colgan, Katie Edwards (eds.) Rape Culture, Gender Violence and Religion: Biblical Perspectives (London: Palgrave Macmillan, 2018), pp. 117-41. ISBN 978-3-319-70668-9

e m a i l: c o l l e g e m h c @ g m a i l. c o m Daniel Keeran, MSW Numbered steps to assess risk and prevent suicide are listed, and detailed cognitive approaches within a psychodynamic framework are described for helping people with depression.

This book explores the depiction of suicide in American youth films from 1900 to 2019. Anchored in Sociology, this multidisciplinary study investigates the causes and consequences of suicide and uncovers the socio-cultural context for the development of youth, film, and suicide. While such cinematic portrayals seem to privilege external explanations of suicide versus internal or psychological ones, overall they are neither rich nor sensitive. Most are simplistic, limited or at the very least unbalanced. At times, they are flatly controversial. In light of this overall problematic depiction of suicide, this book offers a proactive approach to empower young audiences—a media literacy strategy to embrace while watching these films.

13 Reasons Why, a television series adapted from the 2007 novel Thirteen Reasons Why by Jay Asher, quickly evolved into a cultural phenomenon following its premiere in 2017. The plot of 13 Reasons Why concerns the aftermath and fallout of a high school girl’s suicide, and was intended by producers to deconstruct social stigmas attached to the act and examine motivations for suicide. While the series has initiated an ongoing dialogue about suicide, 13 Reasons Why has also generated significant controversy regarding its portrayal, and the ultimate influence of the series has been called into question by professional organizations, who argue that 13 Reasons Why could possibly inspire copycat suicides. Suicide prevention advocacy groups have similar concerns that at-risk youth who view the series may instead be motivated, instead of deterred, to commit suicide. By applying rhetorical criticism to select episodes of 13 Reasons Why and employing audience reception and social learning theory for its framework, this research essay utilizes 13 Reasons Why as a vessel to examine the greater influence of media texts on audiences and whether they can be held wholly accountable for provoking subsequent audience behaviors.

Zusammenfassung Zeitgenössische Fernsehserien, allen voran die des Teen TV, führen häufig tragische Vereinsamungsprozesse vor, die regelmäßig in einem katastrophalen Finale totaler sozialer Isolation eskalieren. So erzählt etwa die kontrovers diskutierte Serie 13 Reasons Why (Tote Mädchen lügen nicht, USA 2017-, Netflix) um den Selbstmord einer Highschool-Schülerin im Wesentlichen von qualvoller sozialer Entfremdung, an denen ihre Figuren leiden-und letztlich zum Teil auch scheitern. Dabei spielen sich diese telemedialen Einsamkeiten nicht nur auf einer rein erzähltechnischen Ebene ab: Erst aus dem ästhetischen Zusammenspiel von Figurenzeichnung, Requisiten und den angeschlossenen Diskursen mit den spezifischen Inszenierungsformen, Handlungsräumen und Klangwelten des Fernsehens entstehen starke Ausdrucksweisen für die sonst häufig unsichtbaren, schwer benennbaren und abstrakten Prozesse spätmoderner Vereinsamung, denen vor allem junge Menschen in den west-lichen postindustriellen Gesellschaften der Gegenwart ausgesetzt sind. Dabei bezieht sich das Fernsehen auf eine bereits in der Kunst-und Filmgeschichte fest etablierte Ikonografie der modernen Einsamkeiten und steigert sie durch die ihm inhärenten ästhetischen Schichten zu einem komplexen Gefüge telemedialer Ausdrucksformen. Vor dem Hintergrund einer kurzen sozial-philosophischen Geschichte der Moderne als Epoche zunehmender Einsam

Popular genres, especially those addressing children and young adults, are often analyzed in terms of taxonomic categories. The coming-of-age genre in film and television, for example, tends to be reduced to a series of characteristics on the level of representation. By contrast, recent developments in film studies focus on dynamic modalities in genre cinema and television. Audiovisual media are never merely a means to communicate or represent given facts and circumstances. They shape and expand the dynamic conditions of our understanding and judging, feeling, and imagining. Genre cinema can be understood as a system of different expressive modalities addressing viewers in an affective manner and opening up a commonly shared space of feeling: Genre films make us experience the diverse ways in which we are affectively connected with the world, and with those we share it with. Filmic images are interventions into the dynamics of affectively grounded communities. This article explores the point of intersection between current film theory and research in the field of young adult media, with a focus on the coming-of-age genre. The example of the TV-series 13 reasons why reveals that the coming-of-age genre can be described as shaping teen experience as an oxymoronic condition.