Love your neighbor: Nazi soldiers and Femmes Fatales in Czech cinema

Where’s Elvis and Trump? Where’s Godzilla and Gaga? Where’s Bowie and Beyoncé? Popular cultures in Social and Cultural Geography, 2000-2020

“…In practice, since 2000, the journal has featured research on an astonishing and vibrant array of popular and media cultures, spanning all manner of popular cultural discourses, genres, media, moments, events and spaces. The journal has come to be the home for exciting, international scholarship on topics as diverse as geographies of popular music (Anderson, 2004;Liu and Cai, 2014;Milburn, 2017), cinemas and cinema-going (Halus, 2017;Ozduzen, 2017), comix and graphic novels (Dittmer, 2014), videogames and gamers (Shaw, 2010;Shaw and Sharp, 2013;Jones and Osborne, 2018), literature and poetry (Yap, 2011), sports fandom (Conner, 2014;Lawrence, 2016), children's toys, trends and enthusiasms (Horton, 2010), hobbyist collecting and wargaming (Yarwood, 2015), online spaces, social media, memes and videos-gone-viral (Lancione, 2014), adverts and anthropomorphic animals (Burton andCollins, 2014), celebrities (McNamara, 2008) and zombies (May 2010). Looking back over this body of work, once can trace an increasingly complex, nuanced and challenging apprehension of interrelated popular cultural materialities, identities, spaces, styles, fashions, politics, communities and exclusions.…”

“…First, the journal has featured an important strand of work on popular geopolitics, with papers critically exploring interplays between popular cultural producers, industries, texts, materialities and audiences in processes of identity formation, nationhood and the perpetuation of geopoliticised ideologies, norms, myths and discourses, past and present (Dittmer and Larsen, 2007). In this vein, authors have provided powerful, critical geopolitical readings of comic books (Dittmer and Larsen, 2007), Tintin adventure stories (Dunnett, 2009), television dramas (Saunders, 2017), film genres (Halus, 2017), tourist sites (Mostafanezhad and Promburom, 2018), and animated comedies (Thorogood, 2018). Work in the journal has thus been important in constituting an increasingly internationalised and careful, relational, polyvocal, reflective, empirically-grounded critical geopolitics, attuned to the complex materialities, relationalities of popular and media cultures (Dittmer, 2013;Dittmer and Dodds, 2013;Dittmer and Gray, 2010).…”