John Fiske

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John Fiske


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Librarian Note: There is more than one author by this name in the Goodreads data base.

Others:
John Fiske (1842-1901): Philosophy, History
John Fiske (born 1939): Social Science, Communication
John Fiske (1637-1675): Reverend
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Average rating: 3.76 · 160 ratings · 12 reviews · 1,173 distinct works
Nathan The Wise

3.87 avg rating — 23 ratings — published 2005 — 4 editions
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AMC River Guide: Maine

4.67 avg rating — 9 ratings — published 2008 — 2 editions
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The American Revolution (Vo...

2.86 avg rating — 7 ratings9 editions
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The Age of Revolution: Hist...

3.80 avg rating — 5 ratings
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AMC River Guide: New Hampsh...

really liked it 4.00 avg rating — 3 ratings — published 2007
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Crown Point, Fort William H...

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4.50 avg rating — 2 ratings — published 2014
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President Tyler - A Short B...

2.67 avg rating — 3 ratings — published 2011
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Cultural Studies: Volume 4,...

it was amazing 5.00 avg rating — 1 rating — published 1990 — 7 editions
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When Oak was New: English F...

it was amazing 5.00 avg rating — 1 rating — published 2013 — 3 editions
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Myths and myth-makers: old ...

it was amazing 5.00 avg rating — 1 rating
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More books by John Fiske…
Quotes by John Fiske  (?)
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“In the economies of late capitalism leisure displaces labor, consumption displaces production, and commodities become the instruments of leisure, identity, and social relations.”
John Fiske, Television Culture (Studies in Communication Series)

“Because men's idea of masculinity can rarely be realized at work they have developed a masculine style for their leisure and social activities that consists of excessive signs of masculinity in an exaggerated and compensatory display. The same gap between the ideological ideal and social experience also explains the sexism and aggressiveness of much adolescent male style, for, like lower-class men, young boys are also denied the social means to exercise the power that our ideology tells them is the prerequisite of their masculinity.”
John Fiske, Television Culture (Studies in Communication Series)

“On the other hand, identification as a relationship of audience to performance disguised the arbitrarily constructed nature of the performance and encouraged the audience to experience the representation as though it were the real, and, in particular, to see characters as individually real people. This blurring of the distinction between the representation and the real disguised the fact that people and incidents were on stage to perform ideologically determined actions and made them appear as innocent, objective relections of reality. It made them appear prodcuts of nature, not of culture.
Identification encouraged the audience to share the experiences and emotions of the characters and thus produced a feeling audience, not a thinking one, an accepting not an interrogative one, and one that understood incidents and actions through individual experience rather than through a sociopolitical framework.”
John Fiske

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