By Shelley S. Rees

First broadcast within the no longer too far away earlier on a tv station in Minnesota, secret technological know-how Theater 3000 quickly grew out of its humble beginnings and located a brand new domestic on cable tv. this straightforward convey a few guy and robots pressured to observe undesirable videos turned a cult vintage, and episodes of the sequence stay packaged in DVD collections to at the present time. sooner than its ultimate run, the express obtained Emmy nominations and a Peabody award for tv excellence, and in 2007, Time journal declared MST3K one of many a hundred top indicates of All-Time. In interpreting secret technology Theater 3000: severe methods, Shelley S. Rees provides a suite of essays that examines the advanced courting among narrative and viewers developed by means of this baffling yet loved tv express. Invoking literary thought, cultural feedback, pedagogy, feminist feedback, humor concept, rhetorical research, and picture and media experiences, those essays verify the exhibit s narrative and rhetorical intricacy. the 1st part, Rhetoric and the Empowered viewers, addresses MST3K s functionality as an workout in rhetorical resistance. half , secret technology Theater 3000 and style, analyzes MST3K via certain popular traditions, together with humor stories, conventional technological know-how fiction tropes, and the B-movie. eventually, the 3rd part addresses postmodern and intertextual readings of the express. by way of offering an instructional therapy of an iconic tv phenomenon, those essays argue that secret technology Theater 3000 is beneficial of significant scholarly realization. even though geared toward a discerning readership of teachers, this assortment also will entice the highbrow nature of the exhibit s well-educated viewers.

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Reading Mystery Science Theater 3000: Critical Approaches

First broadcast within the no longer too far-off prior on a tv station in Minnesota, secret technological know-how Theater 3000 quickly grew out of its humble beginnings and located a brand new domestic on cable tv. this straightforward exhibit a few guy and robots compelled to monitor undesirable videos grew to become a cult vintage, and episodes of the sequence stay packaged in DVD collections to at the present time.

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The paradigm of the propagandistic media and the sedate, receptive masses, then, no longer holds in MST3K’s world. More to the point, though, I want to argue for the importance of analyzing how texts—be they Crime and Punishment or MST3K: “Space Mutiny,” Citizen Kane, or an Obama campaign ad—compose persuasive rhetorical forms. ” A central question in such analysis, it would seem, is how the reader or viewer infers the implied author, and how (or if) the implied author wins acceptance or approval from its audience.

Foucault, Michel. ” In Language, Counter-Memory, Practice, edited by Donald F. Bouchard, 113–138. Ithaca, NY: Cornell University Press, 1980. Halasek, Kay. ” Rhetoric Society Quarterly 22, no. 4 (1992): 1–9. Hodgson, Joel, and Josh Weinstein. ” Music by Joel Hodgson and Charles Erickson, 1988. Holquist, Michael. Introduction to The Dialogic Imagination: Four Essays, by M. M. Bakhtin. Edited by Michael Holquist, translated by Caryl Emerson and Michael Holquist, xv–xxxiii. Austin: University of Texas Press, 2004.

Auteur theory awards the director authorial status, but that way of thinking has crumbled under criticism from those like Barthes and Michel Foucault; the latter would assert that the director’s function, like the print author’s, is only to “characterize the existence, circulation, and operation of certain discourses in society,” not to represent a true individual. 46 Where one assigns directorial status in MST3K remains unclear, anyway, because the movie lampooned in each episode has one director, and the episode itself another.

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