Table of Contents

Part 1 Introduction: How to Break What's Broken: Visual Culture, Dissonance, and Politics Part 2 Prelude: Tactics of Oppositional Culture Part 3 Part I: The Allusive Chapter 4 Chapter 1. Boobs, Barf, and Bloody Asses: Coming of Age in South Park Chapter 5 Chapter 2. Singing in Hell With Satan: Intertextuality, Music, and the Regulation of the Child Chapter 6 Interlude 1. Irony, Community, and the Intelligent Design Debate in South Park and The Simpsons Part 7 Part II: The Responsive Chapter 8 Chapter 3. Puppets, Slaves, and Sex Changes: Performing Sex with Mr. Garrison Chapter 9 Chapter 4. Muhammad's Ghost: Religion, Censorship, and the Politics of Intimidation Chapter 10 Interlude 2. To Rely on the Absurdity of the System: The Daily Show, The Onion, and New Media Convergence Part 11 Part III: The Disruptive Chapter 12 Chapter 5. Ambivalent Opposition: South Park's Racial Discourse Chapter 13 Chapter 6. A Neocon Parade: South Park and Post-9/11 Politics Chapter 14 Coda: The Boondocks, Chappelle's Show, and the Rearticulation of Racial Politics Part 15 Conclusion: Playing With the System, Playing With Fire

About the Author

Ted Gournelos is assistant professor of critical media and cultural studies at Rollins College.

Reviews

Gournelos ably mobilizes South Park's challenge to traditional broadcasting and marketing strategies, to mount a convincing and insightful case about oppositional culture in the contemporary era. His Taoist model of allusive, responsive and disruptive processes reveals South Park and similar texts as models which both critique a range of political discourses and the contradictory media practices which mount them. Gournelos' scholarship is comprehensive, offering an engaging and persuasive account of post 9/11 ideological flux and moral ambiguity
*Paul Wells, Loughborough University*

Amidst South Park's general irreverence and grotesquerie lies one of American media's more interesting sites for oppositional politics. With care and significant skill, Gournelos examines the show and other satirical voices in contemporary culture, explaining exactly how and why the glorious horror of Eric Cartman and friends matter.
*Jonathan Gray, University of Wisconsin, Madison*