Index

A

The Abyss , 163

Academy Awards, 158 -59

Accommodation:

and cognitive development, 4 , 7 , 12 , 19 , 41 , 63 , 135 , 213 n4;

and consumerism, 4 , 135 ;

and generic recombination, 70 , 77 ;

and global political economy, 156 , 171 ;

and play drive, 86.

See also Assimilation

Acorn, Al, 87

The Acoustic Mirror (Silverman), 17 -18

Adolescence, 51 , 102 , 118 , 125 , 208 , 214 n9, 224 n59

"The Adventure of Link" (video game), 105

Advertising:

discourse of, 27 , 50 -51, 82 , 150 , 223n52;

in Japan, 155 .

See also Billboards; Commercials, television

A la recherche du temps perdu (Proust), 19 , 23

Alice in Wonderland (Carroll), 127

Alien , 142

Aliens , 107

Althusser, Louis, 10 -12, 37 , 41 , 47 , 73 , 85 , 124

Alwitt, L. F., 216 n31

American Broadcasting Company (ABC), 41 , 48 , 49 , 170

An American Tale , 223 n42

"America's Funniest Home Videos," 5 , 6 , 34

Amusement parks.  See Theme parks

Animation.  See Cartoons, animated

Anxiety, 71 , 73 , 76 , 110 , 223 n52

Applebee, Arthur, 32 , 33 , 85 , 114 , 213 n7, 214 n9;

on cognitive-psychoanalytic synthesis, 10 , 13 , 23 ;

on holistic/piecemeal response, 7 , 10 , 30 , 83 ;

on social construction of reality, 9 , 41 -42

"April Foolish," 143 -45, 174 -75, 177 -80, 209

Arabian Nights , 18 , 19 , 22

Artificial intelligence (AI), 13 -14

Assimilation:

and cognitive development, 3 -4, 6 , 12 , 19 , 41 , 62 , 135 , 213 n4;

and consumerism, 4 , 135 ;

and generic recombination, 70 , 77 ;

and global political economy, 155 ,

Assimilation (continued )

156 , 171 ;

and play drive, 86 .

See also Accommodation

Astaire, Fred, 223 n44

Atari corporation, 87 -88, 92

Auditory cues, 17 -18, 31 , 216 n31

Automobile:

as consumerist medium, 223 -24n52

B

Back to the Future , 23 , 95 , 100 , 128 , 129 , 163 , 166

Bakhtin, Mikhail, 1 -2, 16 , 37 , 60

Barbie dolls, 9 , 51 , 80 , 91 , 102 , 178 , 187 , 229 n2

Barron, Steve, 133

Barthes, Roland, 19 , 31 , 33 , 70 , 128

Bateson, Gregory, 16

Batman , 122 , 131

The Battle of the Books (Swift), 60

"The Battle of the Midway" (video game), 154

Baumeister, Roy, 227 n32

Bautista, Victor Aurelio:

birth of, 24 , 25 -26;

and consumerism, 27 , 43 -44;

and interaction with narrative, 30 -34;

and mastery of cinema, 1 , 29 -30;

and naming activity, 26 , 70 ;

and Saturday morning television programs, 47 ;

and sleep-bargaining ritual, 29 ;

social network of, 173 ;

and Teenage Mutant Ninja Turtles supersystem, 104 , 124 , 130 , 149 , 151 ;

and television medium, 1 , 26 -35;

and video games, 1 , 36 , 104 , 111 , 115 , 119 , 130

The Beatles, 123

Beatty, Warren, 131

Beckwith, Lela, 26

"Beetlejuice," 41 , 48

Behaviorism, 25 , 86 , 224 n59

Benjamin, Walter, 84

Benson, Sheila, 127 -28

Bergson, Henri, 72

"Bewitched," 44

Beyond the Pleasure Principle (Freud), 20 , 21 , 111

Big Bird, 26

Billboards, 2 , 27 , 43

Birmingham School, 85

Birnbaum, D. W., 31

Birthday parties, 54 , 124

Black Arrow, 186

Book culture:

parodied in television medium, 80 -82

Bordwell, David, 10

Brando, Marlon, 146

Branigan, Edward, 10

Bricolage , 215 n21

Bridges, Beau, 99 , 130

Briefing for a Descent into Hell (Lessing), 19 -20

Broadcasting industry, 40 , 46

Brooks, Peter, 21 -22, 28 , 33 , 70 , 77 , 111

Bruner, Jerome, 7 , 23

Buder, Jane, 227 n32

Bukatman, Scott, 225 n17

Buñuel, Luis, 77

Burch, Noël, 158

Bush, George, 169

Bushnell, Nolan, 87

C

Cable News Network (CNN), 170 -71

Cable television, 5 , 30 , 69 , 170 -71

"California Raisins," 48 , 53 , 55 -56, 74

Camcorders, 5

Capitalism:

and children, 123 ;

and individualism, 156 -58;

multinational, 156 , 162 ;

patriarchal, 11 ;

postindustrial, 37 , 158 ;

and product research and development, 157 -58.

See also Commodification; Consumerism; Corporations; Economic system, global

Captain Midnight, 40

"Captain N," 48 , 49 , 92 , 109

Cartoons, animated, 35 , 37 , 44 -45, 53 , 125 ;

adapted from video games, 109 ;

and intertextuality, 44 -45, 57 ;

and postmodernism, 67 , 109 ;

and television commercials, 40 ;

violence in, 34 , 218 -19n70;

voices in, 220 n4.

See also Saturday morning television programs and titles of specific programs

Castration complex, 65 , 172 ;

and consumerist anxiety, 76 ;

and editing conventions, 28 ;

and mathematical cancellation, 15 ;

and narrative serialization, 71 , 110 ;

and video games, 101 -2, 110

Celine and Julie Go Boating , 84

Censorship, 34 , 37

Champlin, Charles, 160

Chang, David, 151

Chaplin, Charlie, 34

Charles, Ray, 109

Chase, Chevy, 134

Un Chien andalou , 77 , 80

Children:

and child abuse, 218 n70;

creative ability of, 58 -61;

and "fort/da"  game, 20 -21, 25 , 28 , 36 ;

mastery of cinematic medium by, 1 , 29 -30;

mastery of television medium by, 28 , 32 , 34 ;

motor development of, 29 ;

and sleep-bargaining ritual, 17 , 18 , 19 -20, 22 , 29 , 36 ;

and transition to adolescence, 51 , 118 , 125 .

See also Cognitive development, children's; Consumerism, children's; Narrative, children's interaction with

Children's Television Act of 1990, 40 -41, 45 , 69 , 219 n3

The Child's Concept of Story (Applebee), 7

Chisholm, David, 94

Chomsky, Noam, 16

Cinema:

as advertising medium, 94 ;

and comic books, 128 ;

and construction of subjectivity, 39 -40;

displaced by television medium, 1 , 47 , 53 , 56 , 71 , 85 ;

feminist theory of, 9 , 10 ;

gender roles in, 9 , 106 -8, 137 , 139 , 141 -48;

generic recombination in, 96 -97, 158 ;

identification with characters in, 47 , 130 -31, 139 ;

and ideology, 84 ;

imaginary plenitude of, 36 ;

and interactive multimedia, 4 , 6 ;

and intertextuality, 40 , 46 -47;

Japanese, 152 , 158 , 160 -61;

Lacanian theory of, 12 ;

mastery of, 1 , 29 -30;

multigenerational appeal of, 133 ;

oedipal narrative in, 130 ;

and passive spectatorship, 36 , 97 ;

and patriarchy, 65 , 142 ;

positioning of spectator in, 39 , 65 , 96 ;

as prior discourse, 1 , 3 , 13 ;

psychoanalytic theory of, 6 , 9 , 10 , 12 , 39 ;

reference to television medium in, 39 -40, 41 , 94 , 133 ;

reference to video games in, 94 -101, 129 -31;

in Saturday morning tele-

Cinema (continued )

vision programs, 53 -54, 55 , 64 , 77 , 80 , 94 ;

silent, 34 ;

sleep-bargaining genre in, 20 ;

and spinoffs, 41 ;

and structure of the gaze, 47 , 66 ;

video games based on, 95 , 105 ;

violence in, 131.

See also Motionpicture industry

Cinematronics, 88

Cisco Kid, 40

Cixous, Hélène, 65

Class structure, 9 , 65 -66, 103 , 123 , 124 , 144 , 145 , 187 , 226 n21, 227 n32

Cognitive development, children's:

accommodation and assimilation in, 6 -7, 12 , 19 , 41 , 62 -63, 135 ;

and conservation, 14 -15, 57 , 113 , 116 ;

and consumerism, 27 , 43 , 117 , 119 ;

and creative ability, 58 -61, 63 ;

and dual spectatorship, 7 , 12 , 214 n9;

effect of maternal voice on, 17 -18;

and equilibration, 8 -9, 96 , 115 ;

and ideology, 41 , 119 ;

and interactive participation, 7 , 30 , 214 n9;

and intertextuality, 126 ;

and language acquisition, 7 -8, 16 , 18 , 19 , 32 -33, 35 , 41 -43, 113 , 214 n9, 227 n34;

and learning process, 114 -16, 150 , 215 n21;

and moral development, 114 ;

and narrative, 7 , 12 , 13 , 15 , 19 , 32 , 41 -42;

and reenvoicement, 15 -16, 18 ;

and ripening process, 114 -15, 117 ;

and television medium, 26 -29, 32 -33, 35 , 41 , 43 , 218 n57, 230 n5;

and video games, 103 , 111 -13, 115 -17, 119 ;

and zone of proximal development, 18 , 114 -15, 201

Cognitive theory:

combined with psychoanalysis, 10 -15, 21 , 23 -24;

and conservation, 14 -15, 57 , 113 , 116 ;

and developmental psychology, 7 -8, 13 , 113 -17;

and equilibration, 4 , 8 -9, 14 , 15 , 57 , 96 , 115 ;

and gender differentiation, 9 ;

of ideology, 9 ;

and interactive spectatorship, 7 , 12 , 85 ;

and learning process, 114 -16, 215 n21;

and play, 18 -19, 114 -15, 116

Collectability, 123 , 151

The Color of Money , 97 , 99

Columbia Broadcasting System (CBS), 41 , 46 -47, 48 , 49 , 53 , 62 , 79 , 85 , 170

Columbia Pictures, 153 , 159 , 160 , 161 , 162 , 166 , 167

Comedy, 110

Comic books, 37 , 47 , 131 ;

and Teenage Mutant Ninja Turtles supersystem, 121 , 124 , 128 , 132 , 133 , 142 , 149 , 152

Coming to America , 129

Commercials, television:

and animated cartoons, 40 ;

cinematic reference to, 133 ;

cognitive development affected by, 27 -28, 230 n5;

and gender roles, 50 -51;

and growth, 51 -53, 221 n19;

and interactive multimedia, 6 ;

and interactive participation, 85 ;

and intertextuality, 47 ;

and mirror stage, 52 -53;

and oedipal phase, 52 ;

program-length, 40 , 46 ;

as promissory genre, 23 ;

sliding signifiers in, 51 ;

and toys, 40 , 50 -51, 219 n2

Commodification:

of characters, 38 , 44 -45, 54 , 122 ;

and construction of subjectivity, 38 , 51 ;

and entertainment supersystems, 38 , 122 -23, 132 ;

growth curve of, 123 ;

and intertextuality, 38 , 40 , 45 , 54 , 82 , 94 ;

and masquerade, 50 , 51 , 53 , 54 , 61 ;

and novelization, 132 ;

and program-length commercials, 40 ;

and Saturday morning television programs, 40 , 78

Compact discs, 4 , 162 , 172

Computers:

and animation, 56 , 64 ;

and artificial intelligence, 13 ;

educational value of, 116 -17;

and gender roles, 103 ;

and global economics, 168 ;

and graphics, 91 ;

and interactive multimedia, 4 , 6 ;

as models for cognitive development, 7 , 13 -14, 116 , 215 n21;

and Nintendo entertainment system, 89 , 90 , 91 , 93 , 117 , 168 ;

and patriarchy, 9 ;

and virtual reality, 84

Conservation, cognitive, 14 -15, 57 , 113 , 116

Consumerism:

and anxiety, 71 , 73 , 76 , 110 , 223 n52;

and empowerment, 38 , 73 , 124 , 224 n52;

and global economics, 156 , 158 , 161 -62;

and interactive multimedia, 6 ;

and militarism, 169 ;

as model for education, 116 -17;

and postmodernism, 40 ;

and social class, 123 , 124 , 144 ;

and subjectivity, 4 , 27 , 36 , 38 , 40 , 46 ;

and survival skills, 38 , 134 ;

and threat to individual choice, 82 ;

and totemism, 73

Consumerism, children's:

accommodation and assimilation in, 4 , 135 ;

and cognitive development, 27 , 43 , 117 , 119 ;

and empowerment, 124 , 145 ;

and gender roles, 51 ;

and intertextuality, 23 , 40 ;

and survival skills, 38 , 134 ;

and Teenage Mutant Ninja Turtles supersystem, 3 , 119 , 123 -24, 125 , 132 , 134 , 145 , 151 , 205 ;

and television medium, 36 , 38 ;

and toys, 51 , 79 , 123 ;

and transition to adolescence, 51 , 118 , 125 ;

and video games, 100 -101, 116 -17, 119 , 201 -2, 209 -11

"Contra" (video game), 111

Corporations:

European, 159 , 167 ;

Japanese, 38 , 88 , 89 , 152 -53, 154 -68 (see also Nintendo);

mergers of, 38 , 159 , 166 -67;

multinational, 38 , 152 , 159 .

See also Broadcasting industry; Motion-picture industry

Cosby, Bill, 27 , 43 -44

Creative ability:

in children, 58 -61, 63

Cronkite, Walter, 170

Cruise, Tom, 162

Culture:

canonicality of, 23 ;

construction of reality in, 9 ;

dissemination of, 2 , 87 ;

ideological naturalization of, 41 ;

popular, 56 , 122 , 125 , 148 ;

postmodernist, 22 , 35 , 56 , 119 , 163 ;

reenvoicement in, 23 ;

symbolic order of, 11 -12

Cyborgs, 74

D

Dabney, Ted, 87

"Dallas," 70

Death, 22 , 28 , 71 , 76 -77, 110 -11, 172

Democracy:

and interactive media, 5

"Dennis the Menace," 34

Dentsu corporation, 155 , 156

Dersu Uzala , 159

Desire:

intensified by media popularity, 123 ;

as narrative motor, 21 ;

oedipal, 52 -53;

and television medium, 39 , 40 , 73 , 81

Developmental psychology:

cognitive theory of, 7 -8, 13 , 113 -17;

computer models in, 7 , 13 -14, 215 n21;

and conservation, 14 -15, 113 , 116 ;

and dual spectatorship, 7 , 12 ;

and equilibration, 8 , 14 , 15 , 115 ;

and genetic epistemology, 7 -8, 13 , 113 , 114 ;

and language acquisition, 7 -8, 16 , 18 , 19 , 32 -33, 35 , 41 -43, 113 , 214 n9, 227 n34;

and learning process, 114 -16, 215 n21;

and narrative, 12 , 15 ;

and ripening process, 114 -15, 117 ;

and transitional-object theory, 13 ;

and zone of proximal development, 18 , 114 -15.

See also Cognitive development, children's

Dialogism, 1 -2, 16 , 23

Dick Tracy , 95 , 96 , 122 , 129 , 131 , 139 , 222 n42

Die Hard2 , 129

"Different Strokes," 133

"Dink, the Little Dinosaur," 41 , 48

Direct address, 23 , 47 , 55 , 56 , 72 , 77

Dire Straits, 133

Dirty Dancing , 128

Disney organization, 29 , 44 , 62 , 110 , 126 , 129 , 134 , 159 ;

theme parks of, 96 , 161

Doane, Mary Ann, 50 , 65

Documentaries, 35

Donkey Kong, 89 , 105

Dore, John, 15 -17, 19 , 22 , 23 , 42 -43, 56 , 116

"Double Dragon" (video game), 106 , 111

Doyle, Arthur Conan, 81

Dreams, 81 , 104

Dreams (Kurosawa), 160 , 163

Dutka, Elaine, 161 , 165 , 168

E

Eastman, Kevin, 121 , 122 , 152

Easton, Nina J., 161 , 165 , 168

Eastwood, Clint, 97

Eco, Umberto, 61

Economic system, global:

accommodation and assimilation in, 156 , 171 ;

and entertainment industry, 161 -62, 166 -68, 171 -72;

and European role in, 166 -70;

and high-definition television technology, 164 -65, 168 ;

and intertextuality, 156 , 167 ;

Japanese role in, 153 , 154 -68;

and Persian Gulf war, 169 -71;

and product research and development, 157 -58, 165 ;

restructuring of, 167 -69.

See also Capitalism

Editing conventions, 28 , 47 , 55 , 56

Education, 37 , 46 , 69 , 220 n3;

consumerist model of, 116 -17;

video games used for, 117 , 118 -19

Edwards, Luke, 97

8 1/2 , 54

The Empire Strikes Back , 30 , 32 , 149

Empowerment:

and consumerism, 38 , 73 , 124 , 224 n52;

and identification with animals, 73 ;

and interactive spectatorship, 85 ;

and remote control units, 29 , 78 ;

and Teenage Mutant Ninja Turtles supersystem, 38 , 124 , 147 , 148 ;

and video games, 85 -86, 108

Enlightenment, 59

Epstein, Robert, 162 , 164 , 166

Equilibration, 4 , 8 -9, 15 , 21 , 96 , 115

Eroticism, 36 , 142

An Essay on Criticism (Pope), 59

ET , 166

Ethnicity, 56 , 74 -75, 137 , 173 , 174 -75, 185 -87, 188 -89, 192 -93, 209

Europe:

and acquisition of U.S. film companies, 159 , 167 ;

and high-definition television technology, 164 -66;

and Persian Gulf war, 169 , 170 ;

political and economic restructuring of, 167 -70

F

The Fabulous Baker Boys , 99

Famicon, 89 , 91

Family:

alternative models of, 74 ;

as cybernetic system, 16 , 23 ;

dysfunctional, 73 , 101 , 134 ;

generational relations in, 22 ;

nuclear, 11 , 14 , 15 -16, 52 , 74 -75, 101 ;

and patriarchy, 11 , 104 ;

and reenvoicement, 15 -16, 22 ;

replaced by mass media, 22 -23, 37 ;

single-parent, 74 , 139 ;

sleep-bargaining ritual in, 17 , 18 , 22 , 29 ;

united by video games, 104

Fathers:

absence of, 101 , 103 -4, 139 ;

dialogues with, 16 -17, 44 ;

and father-son bonding, 119 , 139 , 141 , 145 , 146 ;

and Name-of-the-Father, 19 , 24 , 53 , 146 ;

and sleep-bargaining ritual, 17 , 18

Federal Communication Commission (FCC), 40 , 165

Fellini, Federico, 53 , 55 , 56 ; parodied, 53 -54

Feminism:

and cognitive theory, 10 ;

and film theory, 9 , 10 ;

and gender theory, 10 ;

and postmodernism, 10 ;

and poststructuralism, 10 ;

and psychoanalysis, 9 , 10

Fiber optics, 4

Fields, W. C., 85

Film.

See Cinema

Fiorini, Florio, 167

Fiske, John, 41 , 45 , 56 , 70 , 220 n4

Fleischer, Max, 44 , 45

Follow that Bird , 33 , 75

"Fort/da" game, 20 -21, 25 , 28 , 36

Fox television network, 49 , 92 , 108

Freud, Sigmund, 11 , 13 , 20 , 111 ;

on "fort/da" game, 20 -21, 25 ;

on introjection of superego, 18 , 19

Friday the 13th , 95

G

Galaxian video game, 88

"Garfield and Friends":

character significant in, 38 , 72 -75, 125 , 150 ;

cinematic reference in, 53 -54;

consumerist anxiety in, 71 , 73 , 75 -77;

generic transformation in, 77 -81;

"Garfield" (continued )

"Hound of the Arbuckles" episode in, 79 -81;

and interactive participation, 85 , 96 ;

and intertextuality, 53 -54, 61 , 79 ;

"Lasagna Zone" episode in, 61 , 71 , 75 -79, 82 -83, 109 , 110 , 127 ;

positioning of spectator in, 72 , 78 , 82 -83;

ratings of, 63 ;

scheduling of, 48 , 49 , 125 -26

Garfield doll, 54 , 223 n52

Gates, Police Chief Daryl F., 5

Gender differentiation:

cognitive theory of, 9 ;

and construction of subjectivity, 9 ;

feminist theory of, 10 ;

and patriarchy, 3 , 9 ;

poststructuralist theory of, 10 ;

psychoanalytic theory of, 9

Gender roles:

and arcade games, 194 -98, 206 -7, 209 -10;

and cinema, 9 , 106 -8, 137 , 139 , 141 -48;

and clothes, 50 -51, 65 ;

and computers, 103 ;

construction of, 145 -48;

and identification with fictional characters, 50 , 65 ;

reinforcement of, 9 ;

and Saturday morning television programs, 10 , 50 -51, 65 , 77 -78;

and spectatorship, 10 , 65 ;

in Teenage Mutant Ninja Turtles supersystem, 3 , 119 , 137 , 139 , 141 -48, 174 -75, 177 -87, 188 -89;

and television commercials, 50 -51;

and television programs, 9 -10, 50 , 224 n55;

and toys, 9 , 50 -51;

transgression of, 3 , 9 ;

and video games, 9 , 102 -3, 105 -8, 119 , 139

Genetic epistemology:

and accommodation, 4 , 7 , 8 , 12 , 213 n4;

and assimilation, 4 , 6 , 8 , 12 , 213 n4;

and conservation, 14 -15, 57 , 112 ;

and developmental psychology, 7 -8, 13 , 113 , 114 ;

and equilibration, 4 , 8 -9, 14 , 15 , 57 ;

and permanent objects, 27 , 28

Genre:

and intertextuality, 43 , 45 , 47 , 57 ;

and language development, 42 -43, 56 ;

and oedipal scenario, 104 -5;

and postmodernism, 56 , 158 ;

promissory, 23 ;

recombination of, 55 -56, 64 , 69 -70, 96 -97, 158 ;

sleep-bargaining, 17 , 19 -20, 22 , 76

Ghost , 129

"Ghostbusters," 31 , 49

Ghost Dad , 44

Gibson, William, 84

Gilgamesh , 109

"Gilligan's Island," 79

GlobalNet, 168 -69

Globus, Yorum, 167

Godzilla, 152 , 169 , 230 n17

Golan, Menachem, 167

Golden Harvest, 128 , 133 , 151 -52

Gone with the Wind , 88

Goonies , 95

Gorbachev, Mikhail, 169 -70

Gray, Tom, 133 , 134

"Green Acres," 44

Green Arrow, 186

Greenfield, Patricia Marks:

on cognitive psychology of video games, 103 , 115 , 116 , 117 , 118 ;

on relation between TV viewing and video-game skill, 36 , 110 , 112 ;

on tests for imaginative ability, 58 , 60

"The Green Ranger."  See "Muppet Babies"

Gremlins2 , 129

Grossman, Laurence, 170

Guber, Peter, 162

H

Hall, Stuart, 85

Haraway, Donna, 74

Hawks, Howard, 139

Hawn, A. G., 165

Hayes, D. S., 31

"Heart Beat," 217 n52

"Heathcliff," 72 , 73 , 74 , 125

Henson, Jim, 62 , 133

Herbeck, Bobby, 133

Herman, PeeWee, 122 .  See also "PeeWee's Playhouse"

Heterosexuality, 52

The Hidden Fortress , 159

High-definition television (HDTV), 4 , 162 -65, 168

Holland, Todd, 94

Hollywood Reporter (periodical), 128

Holmes, Sherlock, 80 -81

Home Alone , 105 , 218 n70

Homosexuality, 221 n19

Honey, I Shrunk the Kids , 126 , 222 n42

"The Hound of the Baskervilles," 81

Houston, Beverle, 1 , 24 , 36 , 39 -40, 53 , 72 , 172 ;

on female subjectivity, 82 -83

Howard the Duck , 134

The Hunt for Red October , 163

I

Iconography, 47 , 58 , 66 , 148 , 149

Identification:

with animals, 73 -74, 108 , 125 ;

with movie characters, 47 , 130 -31, 139 ;

with sliding signifiers, 3 , 37 , 51 , 131 , 134 ;

with television characters, 47 , 50 , 64 , 67 , 69 ;

with toys, 51 ;

with video-game characters, 95

Ideology:

Althusserian theory of, 12 , 37 , 41 ;

and cinema, 84 ;

cognitive theory of, 9 ;

and individualism, 156 , 158 ;

and intertextuality, 2 ;

naturalization of cultural categories by, 41 ;

and television medium, 37 , 39 , 41 ;

and unified subject, 39 ;

and video games, 119 -20

Igarashi, Fumio, 89

"I Love Lucy," 96

Imaginary signifiers, 27 , 37 , 52 , 127

Imagination, 58 -60, 80 -81

Imitation:

and creative ability, 59 -60, 63 ;

and language acquisition, 35 , 219 n71

The Incredible Shrinking Man , 126

Indiana Jones and the Temple of Doom , 95 , 96

Individualism, 156 -58

"Inspector Gadget," 34 , 81 , 112 , 126

Interactive multimedia, 4 -6, 84 , 172

Interactive participation:

and cognitive development, 7 , 30 , 214 n9;

and Nintendo entertainment system, 85 , 93 ;

and play, 63 -64, 85 , 96 -97, 172 ;

and reequilibration, 9 ;

and Saturday morning television programs, 36 , 85 , 96 ;

and segmentation of television medium, 31 ;

and sliding signifiers, 3 ;

and television commercials, 85 ;

and video games, 36 , 83 , 85 -86.

See also Spectatorship, interactive

International House , 85

Interpellation, 12 , 73 , 124

Interpretation of Dreams (Freud), 20

Intertextuality:

and animated cartoons, 44 -45, 57 ;

and cinema, 40 , 46 -47;

and cognitive development, 126 ;

and commodification, 38 , 40 , 45 , 54 , 82 , 94 ;

and creativity, 60 ;

definition of, 1 -2;

and dialogism, 1 -2, 16 , 23 ;

and entertainment supersystems, 1 , 38 , 40 , 122 ;

and fluidity of boundaries, 45 -46, 74 ;

and genre, 43 , 45 , 47 , 57 ;

and global economics, 156 , 167 ;

and identification with animals, 74 ;

and ideology, 2 ;

and narrative, 2 , 23 , 57 -58, 71 ;

and postmodernism, 109 , 152 , 172 ;

and reenvoicement, 16 , 23 ;

and Saturday morning television programs, 40 , 43 , 44 , 45 , 46 -47, 57 , 79 , 82 , 109 ;

and sleep-bargaining genre, 19 -20;

and Teenage Mutant Ninja Turtles supersystem, 60 , 120 , 126 , 131 , 149 , 152 ;

and television medium, 37 -38, 40 , 41 , 46 -47;

and toys, 40 , 47 , 54 ;

transmedia, 1 , 38 , 40 , 46 -47, 53 , 61 , 71 , 74 , 116 , 119 , 126 , 172 ;

and video games, 47 , 104 , 116

J

Jack and the Beanstalk , 32 , 34

Jackson, Michael, 28 , 122 , 133

Jameson, Fredric, 60

Japan:

and acquisition of U.S. film companies, 38 , 153 -55, 159 , 161 , 166 -67;

cinema of, 152 , 158 , 160 -61;

in global political economy, 153 , 154 -68;

and high-definition television technology, 164 -65, 168 ;

and Persian Gulf war, 169 , 170 ;

research and development strategy in, 156 -58

Jaws , 95 , 128 , 166

"The Jeffersons," 133

"Jeopardy," 6

Jet Propulsion Laboratory, 157

"The Johnny Carson Show," 96

Johnson, Nancy S., 57

Joyrich, Lynne, 10 , 65

Joysticks, 4 , 28 -29, 34 , 82 , 83

Julia and Julia , 163

K

The Karate Kid (motion picture), 95 , 105 , 141

"The Karate Kid" (television program), 41 , 48

Keaton, Buster, 34 , 75 , 84

Kelly, Gene, 32

Kerkorian, Kirk, 167

Kiki's Delivery Service , 161

King, Rodney Glen, 5

King, Susan, 220 n4

King of Comedy , 39

King Kong , 97 , 152

Kiss of the Spider Woman (Puig), 20

Klein, Martin, 224 n59

Knoedler, Adam, 113

Koop, C. Everett, 118

Kristeva, Julia, 1 -2

Krueger, Freedy, 186

Krueger, Stanley, 158

"Krypton Factor," 49

Kurosawa, Akira, 152 , 158 , 159 -60, 161

L

Lacan, Jacques, 37 , 85 ;

on mirror stage, 17 , 27 , 52 -53, 127 ;

on symbolic order, 11 -12, 19

Laird, Peter, 121 , 122 , 152

The Land Before Time , 41 , 223 n42

Langen, Todd W., 133

Language:

and cognitive development, 7 -8, 16 , 18 , 19 , 32 -33, 35 , 41 -43, 112 , 214 n9, 227 n34;

and dialogism, 2 ;

speech genres in, 42 -43, 56

"The Lasagna Zone."  See "Garfield and Friends"

Laser video discs, 4 , 31 , 93

"Lassie," 44

The Last Starfighter , 129 -30

Laws:

antitrust, 92 ;

and ban against product-based programs, 40 , 46 ;

and Children's Television Act of 1990, 40 -41, 46 , 69 , 219 n3;

and software compatibility, 92

Learning process, 114 -16, 150 , 215 n21

Lee, Bruce, 152

"The Legend of Zelda" (video game), 109

Leone, Sergio, 55 , 97

Lessing, Doris, 19

Lévi-Strauss, Claude, 72 , 215 n21

Lewis, Jenny, 99

The Limits of Interpretation (Eco), 61

Lippman, Andrew, 161

The Little Mermaid , 96 , 134 , 223 n42

Loftus, Elizabeth F., 118

Loftus, Geoffrey R., 118

"The Lone Ranger," 69

Looker , 84

"Looney Tunes," 34 , 44

Los Angeles Times , 155 , 156

Lucas, George, 64 , 96 , 159 -60

Lunch boxes, 54 , 55

M

McClure, Robert F., 227 n32

MacUser (periodical), 167 -68

Madonna, 122 , 131

Main, Peter, 118

Mandler, Jean M., 57

Markey, Edward J., 166

Marx, Karl, 11 , 20

Masculinity:

construction of, 145 -48

Masquerade:

in Saturday morning television programs, 50 , 51 , 53 , 54 , 61 , 77 , 82 ;

in Teenage Mutant Ninja Turtles supersystem, 124 -25, 142 -47, 230 n17;

in video games, 108

Mastery:

of cinematic medium, 1 , 29 -30, 32 ;

and "fort/da" game, 20 -21, 28 ;

and narrative repetition, 21 ;

of television medium, 28 , 32 , 34 ;

of video games, 32 , 36 , 112

Matsushita corporation, 89 , 156 , 161 ;

acquisition of MCA/Universal by, 38 , 154 -55, 160 , 162 , 163 , 166 -67

Mattel corporation, 88 , 91 , 93

MCA/Universal corporation, 38 , 154 , 160 , 161 , 162 , 166 -67

Mears, Gary F., 227 n32

Metro-Goldwyn-Mayer (MGM), 159 , 167

"Metroid" (video game), 107

Metz, Christian, 12

Midway corporation, 88

Milk, advertisements for, 52 -53, 127

Miller, Mark Crispin, 94

Mind and Media (Greenfield), 36 , 118

Mind at Play (Loftus and Loftus), 118

Mindstorms (Papert), 13 , 25

Mirror stage, 17 -18, 27 , 28 , 52

Miss Piggy, 34 , 62 , 64 , 65 , 70 , 72 , 223 n44

"Mister Ed," 44 , 69

Miyamoto, Shigeru, 105

Moby-Dick (Melville), 81

Modernism:

and elitism, 56 ;

and

Modernism (continued)

transcendent imagination, 59 ;

and unified subject, 40

Modern Times , 32 -33

Monologues, presleep, 15 -17, 18 , 19 , 22 , 26 , 32 , 42 , 116

Monroe, Marilyn, 122

Montage, 79 , 223 n44

"Moonlighting," 133

Moore, Howard W., 105

Morita, Akio, 152

Morricone, Ennio, 97

Morton, Walter, 173

Mothers:

and maternal voice, 17 -18;

patriarchal characterization of, 25 ;

and repression of maternality, 107 , 141 -42, 147 , 230 n12;

scientific study of children by, 24 -25;

single, 74 ;

and sleep-bargaining ritual, 17 , 18

Motion-picture industry:

decline of Japanese, 160 -61;

decline of U.S. hegemony in, 171 -72;

foreign acquisitions in U.S., 38 , 153 -55, 159 , 161 , 166 -67;

and home video rentals, 129 ;

and ticket sales, 128 -29

"Muppet Babies," 72 , 74 , 85 , 122 , 126 , 150 ;

and commodification, 38 , 45 , 127 ;

gender roles in, 65 , 66 , 68 ;

generic recombination in, 64 , 66 -67, 69 -70;

"Green Ranger" episode in, 61 , 66 -71, 109 , 148 ;

identification with characters in, 31 , 38 , 64 -69;

and interactive play, 63 -64, 96 ;

ratings of, 62 , 63 ;

scheduling of, 48 , 49 , 125 ;

and serialization paradigm, 70 -71;

"Twinkle Toe Muppets" episode in, 223 n44

The Muppets Take Manhattan , 33 , 34

Music videos, 28 , 54 -55, 70 , 84 , 163

Mutiny on the Bounty , 126

N

Name-of-the-Father, 19 , 24 , 53 , 146

Narrative:

and construction of subjectivity, 2 -3;

and death, 22 , 28 , 71 , 76 -77, 110 -11;

Eros/Thanatos dynamic in, 21 -22;

and intertextuality, 2 , 23 , 57 -58, 71 ;

oedipal, 19 , 32 , 130 ;

repetition of, 21 , 32 -33, 57 , 110 ;

segmentation of, 30 -31, 76 , 110 ;

serial, 19 , 20 , 22 , 70 , 110 , 111 ;

sleep-bargaining genre in, 17 , 19 -20, 22

Narrative, children's interaction with:

and cognitive development, 7 , 12 , 13 , 15 , 19 , 32 , 41 -42;

and dual spectator-ship, 7 , 12 ;

and hierarchic systems, 42 , 57 , 71 ;

inaugurated by television medium, 3 , 37 ;

and intertextuality, 2 , 57 -58;

and mastery of television medium, 28 , 32 , 34 ;

oedipal inauguration of, 19 , 32 ;

and presleep monologues, 15 , 32 ;

and recall, 57 -58;

and reen-voicement, 19 , 22 , 23 ;

and repetition, 32 -33, 57 ;

and segmentation of television medium, 30 -31;

and selective spectatorship, 31 , 34 , 36 ;

and sleep-bargaining genre, 17 , 19 , 22 ;

and violence, 34

Narratives from the Crib , 15 , 25 , 32 , 42

National Broadcasting Company (NBC), 41 , 48 , 49 , 92 , 109 , 170

National Institute of Mental Health, 23 , 30 -31, 216 n31

National Museum of American History, 54

Nelson, Katherine, 32

Neuromancer (Gibson), 84

Newell, Kenneth, 154

New Kids on the Block, 49 , 123 , 229 n2

New Line Cinema, 132

News reporting, 170 -71

NHK (television network), 165

Nickelodeon television network, 44 , 69 , 112

Nightmare on Elm Street , 186

Nintendo entertainment system:

and antitrust suit, 92 , 225 n12;

and cognitive development, 119 ;

and compatible software, 91 -92;

and computer capability, 89 , 90 , 91 , 93 , 168 ;

and connectivity, 225 n6;

and Famicon, 89 , 91 ;

gender roles in, 105 , 107 -8;

and global economics, 154 -55;

in Hollywood feature film, 94 -95, 99 -101, 130 ;

and interactive multimedia, 4 ;

and interactive participation, 85 , 93 ;

and magazines, 92 , 94 , 95 , 225 n15;

marketing of, 89 -93;

as metaphor in Persian Gulf war, 171 ;

middle-class audience of, 103 ;

oedipal dimension of, 104 -5;

and positioning of spectator, 85 -86;

and Power Glove, 93 , 94 , 96 , 99 , 100 , 130 ;

and product tie-ins, 92 -93;

and "Super Mario Brothers" games, 91 -92, 97 , 100 , 104 , 105 , 107 , 108 ;

television programs adapted from, 108 -10;

and two-player games, 93 ;

and unit sales, 89 , 90 , 94

O

Oatley, Keith, 220 n6

Obsolescence, 47 , 71 , 76 , 110 , 172

The Odyssey (Homer), 109

Oedipal phase:

and cinematic narrative, 130 , 140 ;

and conservation theory, 14 -15;

as entry into narrative, 19 , 32 ;

and symbolic order, 11 , 19 ;

and television commercials, 52 ;

and video games, 101 -2, 103 -5, 108 , 142

Oliver and Company , 223 n42

Oral symbolism, 36 , 86 , 224 n59

Ordinary People , 97

Oscar awards, 158 -59

Out of Africa , 159

Ovitz, Michael, 162

P

Pac-Man, 3 , 86 , 88 , 106 , 112 , 134 , 135 , 149 , 155 , 224 n59

Papert, Seymour;

on cognitive development, 7 , 13 -15, 19 , 23 , 25 , 116 ;

on educational use of computers, 116 -17, 142 ;

on learning process, 115 , 149 -50, 215 n21

Paradigm:

definition of, 217 -18n53;

syntagmatic extension of, 70 , 79 , 223 n44

Paramount, 159

Parents:

replaced by mass media, 22 -23;

scientific study of children by, 25 ;

and sleep-bargaining ritual, 17 , 18 , 22 , 29.

See also Family; Fathers; Mothers

Parmelee, Arthur, 26

Parody, 47 , 53 , 60 , 75 , 79 , 81 , 131

Parretti, Giancarlo, 167

Passive spectatorship.

See Spectatorship, passive

Pastiche, 60

Pathe corporation, 159 , 167

Patriarchy:

and capitalism, 11 ;

and characterization of motherhood, 25 ;

and cinema, 65 , 142 ;

and computers, 9 ;

and construction of masculinity, 145 -48;

and construction of subjectivity, 50 ;

and family, 11 , 104 ;

and female subjectivity, 82 -83;

and gender differentiation, 3 , 9 , 50 ;

and Name-of-the-Father, 19 , 24 , 53 , 146 ;

and phallocentrism, 86 , 108 ;

and postmodernism, 9 , 142 ;

and symbolic order, 9 , 23 , 147 ;

and television programs, 9 , 66 ;

and video games, 9 , 86

"PeeWee's Playhouse," 45 , 48 , 49 , 62 , 67 , 85 , 122 , 125 , 219 n70, 222 n36

Persian Gulf war, 169 -71

Peters, Jon, 162

Peters, Stephen, 157

Phallocentrism, 86 , 108

Phillips, Howard, 104 -6

Piaget, Jean;

on accommodation and assimilation, 6 -7, 12 , 62 -63, 135 , 213 n4;

on actualization, 116 ;

on centralization, 184 , 198 ;

on conservation, 14 , 57 , 113 ;

on equilibration, 4 , 15 , 21 , 57 ;

on imaginative ability, 59 ;

on language acquisition, 6 -7, 219 n71;

on operational thought, 8 , 42 , 113 , 116 , 214 n9;

on permanent objects, 27 , 28

Pinocchio , 29 , 33 , 140 , 142

Pixillation, 31

Platoon , 95

Play:

cognitive theory of, 18 -19, 114 -15, 116 ;

and "fort/da" game, 20 ;

and interactive participation, 63 -64, 85 , 97 , 172 ;

intermediate space in, 63 -64, 76 , 109 ;

Schiller's "play drive," 86 ;

Winnicott's theory of, 36 , 63 -64;

and zone of proximal development, 18 , 114 -15, 201

Pleasure principle, 1

Politics:

and corporate mergers, 166 -67;

and global restructuring, 167 -69;

and interactive media, 5 ;

and Persian Gulf war, 169 -71

Pollack, Andrew, 6

Pollack, Sydney, 159

Poltergeist , 39

Pong video game, 87

Ponti, Carlo, 55

Pope, Alexander, 59 -60

Popeye, 86

Postmodernism:

and animated cartoons, 67 , 109 ;

and architecture, 97 ;

and consumerism, 40 ;

and creativity, 59 , 60 -61;

culture of, 22 , 35 , 56 , 119 , 163 , 222 n31;

erasure of boundaries in, 62 , 67 , 119 ;

and feminism, 10 ;

and genre, 56 , 158 ;

and intertextuality, 109 , 152 , 172 ;

malleability of subjects in, 37 ;

and paradox of uniqueness, 150 ;

and pastiche, 60 ;

and patriarchy, 9 , 142 ;

and simulacra, 35 , 60 , 158 ;

and sleep-bargaining genre, 22 ;

and sliding signifiers, 35 ;

and subjectivity, 37 , 38 , 40 ;

and television medium, 38 , 65

Poststructuralism, 10

Power Glove, 93 , 94 , 96 , 97 , 100 , 130

Predator , 95

Premature Labor Handbook , 26

Prequels, 62 , 71

Presley, Elvis, 122

Pretty Woman , 128 , 129 , 144

The Prince and the Pauper , 143 , 175

Prior discourse, 1 , 3 , 13

Problem Child , 218 n70

Project Infant, 26

Proteus, 135

Proust, Marcel, 19

Psychoanalysis:

characterization of motherhood in, 25 ;

combined with cognitive theory, 10 -15, 21 , 23 -24;

construction of subjectivity in, 11 -12;

Eros/Thanatos dynamic in, 21 -22;

and feminism, 9 , 10 ;

and film theory, 6 , 9 , 10 , 12 , 39 ;

"fort/da" game in, 20 -21, 25 ;

and gender differentiation, 9 ;

introjection of superego in, 18 , 19 ;

Lacanian, 11 -12, 17 -18, 19 , 27 , 37 , 52 , 85 , 127 ;

oedipal theory in, 11 , 14 -15, 52 ;

and passive spectatorship, 6 , 85 ;

and play theory, 36 , 63 ;

as prior discourse, 13 ;

and television theory, 39 , 53 , 72 ;

transitional-object theory in, 13 , 20 , 35

Psychology.  See Cognitive theory; Developmental psychology; Genetic epistemology; Psychoanalysis

Public access programming, 5

Public Broadcasting System (PBS), 62 , 117

Puig, Mañuel, 20

Pump Up the Volume , 5

R

Race:

cultural production of, 9 ;

and "Muppet Babies," 65 -66, 74 -75;

and postmodernism, 103 ;

and video games, 103 , 106 -7, 108 , 109 , 173 , 174 -75, 185 -87, 188 -89, 192 -93, 209

Radio, 40 , 44 , 131

Raiders of the Lost Ark , 64 , 128

Rain Man , 97 , 99

Rambo , 95

"Rampage" (video game), 97

Ran , 159 , 160

Rashomon , 159

Rational-agent theory, 10

Reading for the Plot (Brooks), 21

Reagan, Ronald, 168

Redford, Robert, 162

Reenvoicement, 15 -16, 18 , 19 , 22 , 23 , 44 , 60

Reequilibration, 4 , 14 , 57

Religion, 37

Remote control units, 4 , 28 , 29 , 77 , 78 , 83

"Renegade" (video game), 106 , 111

Repetition, 21 , 32 -33, 56 , 57 , 110

Reruns, 44 , 70

Robocop , 95 , 128 , 169

Rocky , 128

Rodan, 169

Rogers, Roy, 67 , 69

Romanticism, 59 , 61

Rubin, Martin, 44

Ruiz, Raul, 56

S

Saturday morning television programs:

authority figures in, 63 , 66 , 68 ;

and castration anxiety, 65 , 71 , 76 , 110 ;

cine-

Saturday (continued )

matic reference in, 53 -54, 55 , 64 , 77 , 80 , 94 ;

cognitive development affected by, 43 ;

and commodification, 40 , 78 ;

and construction of subjectivity, 4 ;

and death anxiety, 71 , 76 -77, 110 ;

decommodification of, 46 ;

direct address in, 47 , 55 , 56 , 72 , 77 ;

dual spectatorship in, 3 , 7 ;

gender roles in, 10 , 50 -51, 65 , 77 -78;

and generic recombination, 55 -56, 64 , 69 -70, 77 ;

identification with characters in, 47 , 50 , 64 , 67 , 69 ;

as interactive multimedia, 4 , 6 ;

and interactive participation, 36 , 85 , 96 ;

and intertextuality, 40 , 43 , 44 , 45 , 46 -47, 58 , 79 , 82 , 109 ;

masquerade in, 50 , 51 , 53 , 54 , 61 , 77 , 82 ;

parody in, 47 , 53 , 60 , 75 , 79 , 81 ;

and positioning of spectator, 47 , 64 , 72 , 78 , 82 -83, 96 ;

prior discourse in, 1 , 3 ;

ratings of, 62 , 63 ;

repetitive narrative in, 76 -77, 110 ;

schedule of, 47 , 48 , 49 , 125 -26;

segmented narrative in, 77 , 110 ;

serialized narrative in, 70 , 110

Savage, Fred, 95 , 99 , 130

Schachter, Jacquelyn, 227 n34

Scheibler, Susan, 226 n19

Schiller, Friedrich von, 86

Schwarzkopf, Norman, 171

Scorsese, Martin, 163

Sega (division of Tonka Corporation), 88 , 92

Segmentation, 30 , 31 , 37 , 76 , 77 , 110

Semiotics:

Lacanian, 11 ;

and semic codes, 31 -32;

and semiotic transgression, 70

Sequels, 20 , 23 , 131 , 132

Serialization, 19 , 20 , 22 , 70 , 110 , 111

Serling, Rod, 75 , 76 , 84

"Sesame Street," 28 , 31 , 32 , 62 , 74 , 103 , 117

Seven Samurai , 158 , 159

sex, lies, and videotape , 5

Sexuality, 52 , 142 , 221 n19.  See also Eroticism

Shane , 97 , 100

Sheff, David, 90 -91, 93 , 104 , 107

Sheinberg, Sidney J., 167

Sherlock Junior , 33 , 75 , 84

Shimizu, Sakae, 156 -57

Silverman, Kaja, 17 -18

"The Simpsons," 34 , 122 , 125 , 223 n42

Simulacra, 35 , 60 , 96 , 158

Sinclair, Michael, 173

Singin' in the Rain , 4

"Skate or Die" (video game), 111

Skinner, B. F., 16 , 25

Slater, Christian, 99 , 130

Sleep-bargaining, 17 , 18 , 19 -20, 22 , 29 , 36 , 76

Sliding signifiers, 3 , 35 , 37 , 51 , 131 , 172 ;

in Teenage Mutant Ninja Turtles supersystem, 3 , 120 , 134 , 135 , 144 , 145

"Slimer and the Real Ghostbusters," 31 , 41 , 48 , 49

"Small Wonder," 133

"Smurfs," 48 , 58 , 60 , 117

Social class, 9 , 103 , 123 , 124 , 144 , 226 n21, 227 n32

Social construction of gender, 145 -48

Sony corporation, 89 , 91 , 153 , 155 , 156 ;

acquisition of Co-

lumbia Pictures by, 38 , 160 -61, 162 , 163 , 166 , 167 ;

and high-definition television technology, 163 -65;

interactive multimedia developed by, 4 ;

theme parks of, 161

Space Invaders game, 88

Special effects, 64 , 163

Spectatorship:

dual, 3 , 7 , 12 ; female, 50 , 65 , 106 ;

and gender roles, 10 , 65 ;

and holistic/piecemeal response, 7 , 30 , 83 ;

interactive, 3 , 7 , 9 , 31 , 34 , 36 , 83 , 85 , 96 -97, 214 n9;

and mirror stage, 27 ;

passive, 3 , 6 , 36 , 83 , 85 , 97 ;

positioning of, 39 , 47 , 64 -65, 72 , 78 , 82 -83, 85 -86, 96 -97;

selective, 31 , 34 , 36 , 218 n57;

and suture, 47 , 221 n14

Spielberg, Steven, 159 -60, 162

Spigel, Lynn, 85

Spinoffs, 23 , 41 , 62 , 121 , 131 , 220 n4

Stam, Robert, 2

"Star Tours," 96

Star Wars :

as entertainment supersystem, 30 , 122 , 127 , 128 , 168 ;

gender roles in, 107 ;

Kurosawa's influence on, 159 ;

male bonding in, 141 ;

and sequelization, 92 , 131 ;

and theme parks, 96

A Streetcar Named Desire , 146

Subjectivity:

consumerist, 4 , 27 , 36 , 38 , 40 , 46 ;

decentered, 40 ;

female, 82 -83;

gendering of, 10 , 12 , 38 , 51 ;

instability of, 75 ;

malleability of, 37 , 82 , 120 , 135 ;

phallic, 145 ;

post-modernist, 37 , 38 , 40 ;

unified, 39 -40, 120

Subjectivity, construction of:

and cinema, 39 -40;

and commodification, 38 , 51 ;

and gender differentiation, 9 ;

and identification with fictional characters, 47 , 50 ;

Lacanian theory of, 11 -12, 27 , 37 , 127 ;

and masquerade, 142 ;

and narrative, 2 -3;

and patriarchy, 50 ;

and reequilibration, 4 ;

and sliding signifiers, 3 , 37 ;

and television medium, 3 , 37 , 127

Suleiman, Susan, 25

Superego, introjection of, 18 -19

Superman , 131 , 137 , 146 , 219 n70

"Super Mario Brothers" (television program), 23 , 49 , 67 , 86 , 92 , 108 -10, 127

"Super Mario Brothers" (video game), 91 -92, 94 -95, 98 , 100 , 104 , 105 , 107 , 108 , 127 , 130

Supersystems, entertainment:

cognitive development fostered by, 116 , 119 ;

and collectability, 123 ;

and commodification, 38 , 123 , 132 ;

growth curves of, 123 , 125 , 127 ;

and interactive multimedia, 4 ;

and reenvoicement, 23 ;

and relations between cinema and television, 40 ;

and transmedia intertextuality, 1 , 38 , 40 , 116 , 119 , 122 -23

Surrealism, 163

Swift, Jonathan, 60

Symbolic order:

and language acquisition, 19 ;

and oedipal phase, 11 , 19 ;

and patriarchy, 9 , 23 , 147

Syndication, 44 , 69 , 70 , 71 , 92 , 108 , 121 , 126 , 217 n52

T

Tech 2000 (gallery), 5 , 84

Teenage Mutant Ninja Turtles supersystem:

accommodation and assimilation in, 134 -35, 152 , 164 ;

and alternative family models, 74 ;

in arcadegame format, 104 , 121 , 124 , 132 , 189 -90, 193 -211;

in comic-book format, 14 , 121 , 124 , 128 , 132 , 142 , 149 , 152 ;

and consumerism, 3 , 119 , 123 -24, 125 , 132 , 134 , 145 , 151 ;

and dual spectatorship, 3 ;

empirical study of, 173 -211;

and empowerment, 38 , 124 , 145 , 147 , 148 ;

and gender roles, 3 , 119 , 137 , 139 , 141 -48;

growth curve of, 123 , 125 , 127 ;

iconographic coding in, 148 -50;

identification with characters in, 74 , 124 -25, 130 , 139 ;

and intertextuality, 60 , 120 , 126 , 131 , 149 , 152 ;

Japanese influence in, 151 -53, 230 n17;

male bonding in, 119 , 139 , 141 , 145 , 146 , 150 , 151 ;

and masquerade, 124 -25, 142 -47, 230 n17;

in motion-picture format, 121 , 128 -43, 151 , 161 ;

multigenerational appeal of, 133 , 151 ;

and novelization, 132 , 148 ;

paradox of uniqueness in, 150 -51;

and reenvoicement, 23 ;

as reference in Persian Gulf War, 171 ;

in rock-group format, 121 , 125 ;

sliding signifiers in, 3 , 120 , 134 , 135 , 144 , 145 ;

in television format, 34 , 41 , 49 , 63 , 117 , 122 , 125 -27, 143 -47, 230 n5;

toys in, 120 , 122 , 123 , 124 , 128 , 132 , 149 , 151 ;

and transformative ability, 126 -27, 135 , 143 , 146 , 172 , 230 n17;

and transition to adolescence, 125 ;

in videogame format, 86 , 102 , 104 , 111 , 120 , 121 , 128 , 132 , 137 ;

and violence, 124 -25, 152 , 198 -200, 230 n16

Teenage Mutant Ninja Turtles II:

The Secret of the Ooze , 132 , 161 , 230 n12

Television and Behavior (National Institute of Mental Health), 216 n31, 218 n57

Television medium:

audio component of, 31 , 109 , 216 n31;

book culture parodied in, 80 -82;

cinema displaced by, 1 , 47 , 53 , 56 , 71 , 85 ;

cinematic reference in, 53 , 56 , 220 n4;

cinematic reference to, 39 -40, 41 , 94 , 133 ;

cognitive development affected by, 26 -29, 32 -33, 35 , 41 , 43 , 218 n57, 230 n5;

and construction of subjectivity, 3 , 37 , 127 ;

creative ability affected by, 58 -59;

and desire, 39 , 40 , 73 , 81 ;

editing conventions in, 28 ;

family replaced by, 22 -23, 37 ;

and female subjectivity, 82 -83;

and ideology, 37 , 39 , 41 ;

and interactive participation, 85 ;

and intertextuality, 37 -38, 40 , 41 , 46 -47;

mastery of, 28 , 32 , 34 ;

and mirror stage, 27 , 28 , 37 , 52 -53;

and permanent objects, 27 , 28 , 29 , 34 ;

positioning of spectator in, 39 , 64 -65, 72 , 82 -83;

and post-modernism, 38 , 65 ;

psychoanalytic theory of, 39 , 53 , 72 ;

segmentation of, 30 , 31 , 37 , 76 , 77 ;

and sleep-bargaining genre, 20 , 22 , 36 ;

and transitional objects, 35 , 76

Television programs:

cancella-

tion of, 70 , 71 ;

and gender roles, 9 -10, 50 ;

multigenerational appeal of, 44 , 45 ;

and patriarchy, 9 , 66 ;

and prequels, 62 , 71 ;

ratings of, 62 , 63 ;

and reruns, 44 , 70 ;

and spinoffs, 41 , 62 , 220 n4;

syndicated, 44 , 69 , 70 , 71 , 92 , 108 , 121 , 126 , 217 n52;

video games adapted for, 108 -10.

See also Saturday morning television programs

"Tetris" (video game), 93

Theme parks, 96 -97, 101 , 160 -61, 225 -26n17, 226 n19

Thomas, Kevin, 160

Thorndyke, Perry, 57 , 68

Throne of Blood , 159

Through the Looking-Glass (Carroll), 127

"ThunderCats," 49 , 54

Tice, Dianne, 227 n32

"Tom and Jerry," 33 , 49 , 65

Tommy , 97

"The Tonight Show."  See "The Johnny Carson Show"

Tonka Corporation, 92

Top Gun , 95

Topolsky, Ken, 95

Total Recall , 84 , 95 , 129

Totemism, 72 -73

Toys:

and consumerism, 51 , 79 , 123 ;

creative ability affected by, 58 -59;

and gender roles, 9 , 50 -51;

and interactive multimedia, 6 ;

and intertextuality, 40 , 47 , 54 ;

and Teenage Mutant Ninja Turtles supersystem, 120 , 122 , 123 , 124 , 128 , 132 , 149 , 151 ;

and television commercials, 40 , 50 -51, 79 -80;

transformer genre of, 74 , 79 -80, 135 , 137 ;

as transitional objects, 20

Toys 'R' Us, 93 , 105 , 122 , 151

Transformers.  See Toys

Transitional objects, 13 , 20 , 35 , 76

Tron , 129 -30, 149

Tsuburaya, Eiji, 152 , 230 n17

Tubby the Tuba , 32

Turner, Ted, 170

20th Century Fox, 159

"Twinkle Toe Muppets."  See "Muppet Babies"

Tyson, Mike, 102 , 105

U

Ulmer, Gregory, 24

Unconscious:

discourse of, 11

Uniqueness:

of fictional characters, 72 -73, 150 -51

United Artists, 159 , 167

United States:

in global political economy, 166 , 169 -70;

and high-definition television technology, 164 -65;

and Persian Gulf war, 169 -71;

research and development strategy in, 157 -58;

trade deficit of, 156

Universal Studio, 38 , 94 , 96 , 97 , 99 , 159 , 163 , 166

University of Southern California School of Cinema-Television, 165

V

Vader, Darth, 31 -32

van Gogh, Vincent, 163

Variety (periodical), 129

Video cassette recorders (VCR's), 4 , 31 , 32 , 91 , 162

Videodrome , 39

Video games:

adapted from cinema, 95 , 105 ;

behaviorist theory of, 86 , 224 n59;

and cognitive development, 103 , 111 -13, 115 -17, 119 , 227 n34, 228 -29n53;

and consumerism, 101 , 110 , 116 -17;

cooperation

Video games (continued )

fostered by, 115 , 132 ;

demographics of, 226 n22;

educational value of, 117 , 118 -19;

and empowerment, 85 -86, 108 ;

expanding audience of, 87 -88, 92 , 105 -9 passim, 118 ;

family unity promoted by, 101 , 104 ;

and gender roles, 9 , 102 -3, 105 -8, 119 , 139 ;

home, 1 , 3 , 4 , 6 , 7 , 32 , 38 , 85 , 91 , 121 , 129 ;

and identification with fictional characters, 95 , 115 ;

and ideology, 119 -20;

as interactive multimedia, 4 , 6 , 84 ;

and interactive participation, 36 , 83 , 85 -86;

and intertextuality, 47 , 104 , 116 ;

and magazines, 92 , 94 , 95 ;

marketing of, 87 -93, 101 -2, 127 ;

mastery of, 32 , 36 , 112 ;

multigenerational appeal of, 105 -6, 108 , 118 ;

and oedipal conflict, 101 -2, 103 -5, 108 , 142 ;

oral symbolism in, 86 , 224 n59;

and race, 103 , 106 -7, 108 , 109 ;

and reenvoicement, 23 ;

as reference in cinema, 94 -101, 129 -31;

and serialized narrative, 110 , 111 ;

and sleep-bargaining genre, 20 , 22 ;

and social class, 103 , 226 n21, 227 n32;

as substitute parents, 22 ;

television programs adapted from, 108 -10;

therapeutic value of, 112 ;

unit sales of, 87 , 88 -89, 90 , 94 ;

and violence, 102 , 107 , 118 , 226 n21;

virtual reality in, 84.

See also Nintendo

Video tapes, 32 , 129

Violence, 5 , 34 , 218 n70;

in cinema, 131 ;

and Teenage Mutant Ninja Turtles supersystem, 124 -25, 152 , 230 n16;

and video games, 102 , 107 , 118 , 226 n21

Virtual reality, 84

Voices:

of animated characters, 220 n4;

maternal, 17 -18;

in television medium, 31

Voyeurism, 12

Vygotsky, L. S., 7 , 18 , 60 , 114 -16, 201

W

Wall Street Journal , 166

Warner Brothers, 44 , 159

Warner Communications, 88 , 162

Wasserman, Lew, 166 -67

Weir, Ruth, 25

"Wheel of Fortune," 6

White, Mimi, 41 , 220 n4

Who Framed Roger Rabbit? , 95 , 96 , 218 -19n70, 222 n42

Willis, Susan, 9 , 24 , 43 , 118 , 123 , 135 , 146 , 182 , 185 , 198 , 202 , 210

Winnicott, D. W., 13 , 25 , 35 , 63 -64

The Wizard , 94 -101, 104 , 106 , 107 -8, 111 , 129 -30, 138 , 139

The Wizard of Oz (motion picture), 64

"The Wizard of Oz" (television program), 41 , 49

"The Wonder Years," 133

Y

Yellow Submarine , 100

Yojimbo , 158

Z

"Zelda II: The Adventure of Link."  See "The Adventure of Link"

Zone of proximal development.  See Cognitive development