Media studies Books

Book SynopsisA completely updated edition of a seminal work on fans and communities We are all fans. Whether we follow our favorite celebrities on Twitter, attend fan conventions such as Comic Con, or simply wait with bated breath for the next episode of our favorite television dramaeach of us is a fan. Recognizing that fandom is not unusual, but rather a universal subculture, the contributions in this book demonstrate that understanding fans--whether of toys, TV shows, celebrities, comics, music, film, or politicians--is vital to an understanding of media audiences, use, engagement, and participatory culture in a digital age. Including eighteen new, original essays covering topics such as activism directed at racism in sports fandom, fan/producer interactions at Comic Con, the impact of new technologies on fandom, and the politics and legality of fanfic, this wide-ranging collection provides diverse approaches to fandom for anyone seeking to understand modern life in ouTrade ReviewAn excellent collection, the second edition ofFandomcontinues to push the boundaries of fan studies in bold directions. Reflecting the new developments in the field, this lively, engaging, and high-quality volume will be the go-to book for anyone engaged with the future of fan culture. -- Jason Mittell,Middlebury CollegeThis new edition ofFandom takes fan studies in exciting new directions, providing a crucial intervention into the way the field is evolving. Thought-provoking and mature, it will change the way we think about the next generation of fan scholarship. A fantastic book. -- Paul Booth,author of Digital Fandom 2.0 and Playing Fans: Negotiating Fandom and Media in the Digital

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Book SynopsisFrom Derek Hunter—one of the most entertaining political writers today—comes an insightful, alarming look at how progressives have taken over academia, pop culture, and journalism in order to declare everything liberal great, and everything great, liberal. Progressives love to attack conservatives as anti-science, wallowing in fake news, and culturally backwards. But who are the real denialists here? There are three institutions in American life run by gatekeepers who have stopped letting in anyone who questions their liberal script: academia, journalism, and pop culture. They use their cult-like groupthink consensus as proof that science, reporting, and entertainment will always back up the Democrats. They give their most political members awards, and then say the awards make their liberal beliefs true. Worse, they are using that consensus to pull the country even further to the left, by bullying and silencing dissent from even those they''ve allowed in. Just a few years ago, the media pretended they were honest brokers. Now a CNN segment is seven liberals versus a sacrificial lamb. MSNBC ate their sacrificial lamb. Well, Chris Matthews did. Tired of being forced to believe or else, Derek Hunter exposes the manufactured truths and unwritten commandments of the Establishment. With research and a biting, sarcastic wit, he explains: The growing role of celebrities in the political world, and movies with a message that dominate awards season, but rarely the box office. The unquestioning reporting on studies that don’t prove what they say they prove. The hidden bias of fact-checking, when the media cherry picks which facts they check. Celebrity scientists like Bill Nye and Neil deGrasse Tyson blending liberal activism with pretend expertise outside their fields. Clever, controversial, and convincing, Derek Hunter''s book gets to the root of America''s biggest cultural war lies.

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Book SynopsisFirst appearing in 1964, and long since out of print, Stuart Hall and Paddy Whannel’s landmark book The Popular Arts takes seriously the importance of studying popular culture, thereby opening up an almost unprecedented field of analysis of everything from film, pulp crime novels, and jazz to television and advertising.Table of ContentsIntroduction to 2018 Edition / Richard Dyer vii Introduction 13 Part I: Definitions 1. The Media and Society 19 2. Minority Art, Folk Art, and Popular Art 45 3. Popular Art and Mass Culture 66 Part II. Topics for Study 4. Popular Forms and Popular Artists 89 5. Violence on the Screen 110 6. The Avenging Angels 142 7. Falling in Love 164 8. Fantasy and Romance 196 9. Friends and Neighbours 225 10. The Young Audience 269 11. The Big Bazaar 313 Part III. Social Themes 12. The Institutions 341 13. Mass Society: Critics and Defenders 364 Acknowledgments 385 Index 387

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Book SynopsisWith over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. The volume offers multidisciplinary approaches to the vast array of troubling images that circulate in global visual culture.Trade Review"Confronting the Unwatchable," by Maggie Hennefeld and Nicholas Baer https://lareviewofbooks.org/article/confronting-the-unwatchable/#!— Los Angeles Review of Books "Carefully edited to allow multiple voices and experiences to be in dialogue and sometimes challenge each other, Unwatchable shows how productive the unwatchable is as a moral and aesthetic category and also reveals that when it comes to these images, our watch has just begun."— Aurore Spiers, Discourse "The tone of the writing is refreshing—sometimes experimental and at others painfully reflective. Readers embark on deeply personal and highly politicised journeys with contributors, recalling harrowing moments from cinematic, televisual, world, and personal history."— Moveable Type "A substantial collection of essays, bristling with anxiety about the social impact of the kind of mediations broadcasting the news requires of us daily."— Times Literary Supplement "This book will find its greatest connections in studies of both the ethics and aesthetics of visual culture at its fringes."— Communication Booknotes Quarterly "A compelling foray into the bio- and necropolitics of spectacle, suffering, and violence. The short pieces in this weighty collection linger uncomfortably, highlighting the incommensurability of the unwatchable and the unthinkable."— Jasbir K. Puar, author of Terrorist Assemblages: Homonationalism in Queer Times "The anthology is an impressive collection of essays written by over fifty scholars and artists working on issues in film and media studies from a variety of disciplines and professional (as well as personal) perspectives, each of whom attempts to struggle with sharing what it means for something to be 'unwatchable' for them. Researchers on related issues in film, media, gender, politics, and philosophy broadly construed will find much that is both new and old to consider anew and to reconsider, while those new to such debates may find another space within which to theorize."— Journal of Aesthetics and Art Criticism "A socially urgent and intellectually galvanizing book. Unwatchable opens up a vital critical space for sharing the burden of navigating the difficult, often painful terrain of the twenty-first century visual regime. Highly readable, and productively challenging, it is a book that will inform our discussions of the politics of watching (and not watching) for a long time to come."— Journal of Cinema and Media Studies "This anthology does nothing less than challenge us to grapple with the criteria and ramifications of the unwatchable. It does not offer any one-dimensional or easily digestible answers to the complex questions raised in individual contributions. Though its richness and variety, it instead makes possible a deeper understanding of the concept of the unwatchable, which has become a crucial category across global media and politics."— MEDIENwissenschaft: Rezensionen New Books Network: New Books in Popular Culture -- New Books in film podcast interview withNicholas Baer, Maggie Hennefeld, Laura Horak, and Gunnar Iversen— New Books Network - New Books in Film "By posing a seemingly modest question—what visual experiences in our media-saturated world are 'unwatchable?'—the editors of this remarkable volume have elicited an astonishing range of intensely felt responses. They reveal the most potent anxieties of our troubled times, forcing us to attend to what we cannot bear to witness directly."— Martin Jay, author of Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought "This is a volume edited by the discipline’s top scholars and featuring some of our most brilliant theorists. Film scholars will doubtless be citing the essays in this volume for a long time to come. I know I will. What is likely to impress students, and what this collection gifts so gorgeously, is its demonstration of the way theory and film alike can crack open the most pressing issues of our day and offer moral support and ethical guidance for thinking through a life lived as citizen and spectator."— The Communication Review "While many edited anthologies boast interdisciplinarity and intermediality, Unwatchable stands out for the astounding reach of the media and discourses marshalled under its theme. Its implications are manifold, evidence that 'unwatchable' is more than just an aesthetic category. Unwatchable’s editors suggest that the currently unobservable, whether expressly repudiated or involuntarily rendered invisible, will surely linger and haunt the public imagination for years—if not generations—to come." — Film Quarterly "This thoughtfully curated anthology of short essays comes at a classical aesthetic problem with a fresh sense of historical urgency and from a number of truly new, often surprising directions. Radically extending the conceptual reach of its title, Unwatchable offers readers real traction on core questions in media and cultural studies surrounding taste, identity, and embodied experience as it navigates deftly across the dizzying landscape of contemporary spectatorship."— Sianne Ngai, author of Our Aesthetic Categories: Zany, Cute, Interesting "Unwatchable is a powerful, potent collection because of its mission to crack our fingers apart just a little bit wider to see more of what we're averse to. Look for this book."— Jump CutTable of ContentsContents Introduction: Envisioning the Unwatchable Part I: Violence and Testimony Theorizing the Unwatchable 1. W. J. T. Mitchell, Unwatchable 2. Boris Groys, The Gaze from Within 3. Stefano Harney and Fred Moten, The Unwatchable and the Unwatchable 4. Alenka Zupančič, Melting Into Visibility 5. Meghan Sutherland, Pro Forma Spectacles of Destruction 6. Jonathan Crary, Terminal Radiance 7. Poulomi Saha, Unwatched/Unmanned: Drone Strikes and the Aesthetics of the Unseen 8. Alex Bush, Breakaway 9. Meir Wigoder, The Watchability of the Unwatchable: Television Disaster Coverage Bearing Witness 10. Peter Geimer, The Incommensurable 11. Leshu Torchin, Not Seeing is Believing: The Unwatchable in Advocacy 12. Frances Guerin, Even If She Had Been a Criminal: A Past Unwatched 13. Federico Windhausen, Deframing Evidence: A Transmission from Los ingrávidos 14. Emily Regan Wills, Alan Kurdi’s Body on the Shore Visual Regimes of Racial Violence 15. Stanley Wolukau-Wanambwa, Held Helpless in the Breach: On American History X 16. Jared Sexton, The Flash of History: On the Unwatchable in Get Out 17. Alexandra Juhasz, Nothing is Unwatchable for All 18. Michael Boyce Gillespie, Empathy. Complicity. Spectacularization and Resistance 19. Alok Vaid-Menon, Entertainment Value 20. Alec Butler, Holocausts, Hallowe’en, and Headdresses 21. Danielle Peers, Unwitnessable: Outrageous Ableist Impersonations and Unwitnessed Everyday Violence Part II: Histories and Genres The Tradition of Provocateurs 22. Asbjørn Grønstad, The Two Unwatchables 23. Akira Lippit, Real Horrorshow 24. Mauro Resmini, Asymmetries of Desire: Salò, or the 120 Days of Sodom 25. Mattias Frey, Unstomachable: Irréversible and the Extreme Cinema Tradition Enduring the Avant-Garde 26. Christophe Wall-Romana, Unwatchability by Choice: Isou’s Venom and Eternity 27. Kenneth Berger, The Refusal of Spectacle: Debord’s Howls for Sade 28. J. Hoberman, Warhol’s Empire: Unwatched and Unwatchable 29. Noël Carroll, Warhol's Empire 30. Erika Balsom, Watching Paint Dry Visceral Responses to Horror 31. Vivian Sobchack, “Peekaboo”: Thoughts on (Maybe Not) Seeing Two Horror Films 32. B. Ruby Rich, Why I Cannot Watch 33. Genevieve Yue, Apotropes Pornography and the Question of Pleasure 34. Susie Bright, I Am Curious (Butterball) 35. Bill Nichols, At the Threshold to the Void Archives and the Disintegrating Image 36. Elif Rongen-Kaynakçi, Restoring Blood Money 37. Jan Olsson, Turning Garbo Watchable: From Swedish Bread Bun to Hollywood Goddess 38. Philipp Stiasny and Bennet Togler, Twilight of the Dead Part III: Spectators and Objects Passionate Aversions 39. Jonathan Rosenbaum, “Sad!”: Why I Won’t Watch Antichrist 40. Nathan Lee, Transforming Nihilism 41. Julian Hanich, Oh, Inventiveness! Oh, Imaginativeness! Precious Cinema and Its Discontents: A Rant 42. Jeffrey Sconce, The Biopic is an Affront to the Cinema Tedious Whiteness 43. Jack Halberstam, White Men Behaving Sadly 44. Brandy Monk-Payton, “You is Kind, You is Smart, You is Important” or, Why I Can't Watch The Help 45. Mel Y. Chen, Two Tables and a Ladder: WCGW? Reality Trumpism 46. Lynne Joyrich, TV Trumps 47. Abigail De Kosnik, The Once and Future Hillary: Why I Won't Watch Any Fictionalizations of the 2016 Election Pedagogy and Campus Politics 48. Raúl Pérez, Why We Can’t Take a Joke 49. Jennifer Malkowski, The Bridge and Unteachable Films 50. Katariina Kyrölä, Squirming in the Classroom: Fat Girl and the Ethical Value of Extreme Discomfort The Triggered Spectator 51. E. Ann Kaplan, What is an “Unwatchable” Film? (With Reference to Amour and Still Alice) 52. Barbara Hammer, Watch at Your Own Peril 53. Samuel England, Sects, Fries, and Videotape 54. Rebecca Schneider, Off Watch Acknowledgments Filmography Bibliography Notes on Contributors Index

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Book SynopsisTrade Review“Combining superb scholarship, a palpable passion for his subject, and a singular sensibility for the art of the moving image, Thomas Lamarre has produced a landmark work in cultural theory and media history. The Anime Machine navigates the intercultural and transmedia complexities of the worlds of anime with expertise and originality. Everyone from the anime enthusiast to the philosopher will come away with a heightened appreciation of one of the defining art forms of our era.” —Brian Massumi, author of Parables for the Virtual“With the help of thinkers such as Deleuze and Guattari, Thomas Lamarre identifies in anime an originary machinic force, one that traverses both animation and cinema, with a capacity for heteropoeisis through technological practices. This is an inspiringly sophisticated and imaginative book.” —Rey Chow, author of Sentimental Fabulations, Contemporary Chinese FilmsTable of ContentsPreface Introduction: The Anime Machine Part I. Multiplanar Image 1. Cinematism and Animetism 2. Animation Stand 3. Compositing 4. Merely Technological Behavior 5. Flying Machines 6. Full Animation 7. Only a Girl Can Save Us Now 8. Giving Up the Gun Part II. Exploded View 9. Relative Movement 10. Structures of Depth 11. The Distributive Field 12. Otaku Imaging 13. Multiple Frames of Reference 14. Inner Natures 15. Full Limited Animation Part III. Girl Computerized 16. A Face on the Train 17. The Absence of Sex 18. Platonic Sex 19. Perversion 20. The Spiral Dance of Symptom and Specter 21. Emergent Positions 22. Anime Eyes Manga Conclusion: Patterns of Serialization Notes Bibliography Index

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Book SynopsisEmotions have long been neglected in media research, although their role is a vital ingredient in shaping our shared stories and the ways we engage with them.But emotions, as they circulate through the media, can also be divisive and exclusionary. Karin Wahl-Jorgensen makes the case for researching the role of emotions in mediated politics. Drawing on a series of studies, she explores the complex relationship between emotions, politics and media. The book includes analyses of how Facebook structures emotional reactions; the anger of Donald Trump; the use of personal storytelling in feminist Twitter hashtags; the role of emotionality in award-winning journalism; and the communities created by political fandoms. Essential reading for scholars and students, this important volume opens up new ways of thinking about and researching emotions, media and politics.Trade Review“As wonderfully topical as this book is, I wish we had all owned it and been able to work with our heavily underlined copies of it for decades, given how superbly it advances and nuances our understanding of the place of emotions in media and politics.”Jonathan Gray, University of Wisconsin–Madison “Emotions, Media and Politics moves a complex debate to an impressive new level by articulating brilliantly how mediated political life cannot be understood without taking personal feelings such as love and anger seriously as compasses of rational decision-making. A must-read for scholars of media and communication who want to make sense of Brexit and Putting America First.”Irene Costera Meijer, Vrije Universiteit AmsterdamTable of ContentsAcknowledgments Introduction: Understanding Emotions in Mediated Public Life 1 Taking Emotion Seriously: A Brief History of Thought 2 Emotions are Everywhere: The Strategic Ritual of Emotionality in Journalism 3 Authenticity, Compassion and Personalized Storytelling 4 Towards a Typology of Mediated Anger 5 Shifting Emotional Regimes: Donald Trump’s Angry Populism 6 The Politics of Love: Political Fandom and Social Change 7 The Emotional Architecture of Social Media Conclusion: Nine Propositions about Emotions, Media and Politics Notes References Index

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Book SynopsisHow do “human” prejudices reemerge in algorithmic cultures allegedly devised to be blind to them?How do “human” prejudices reemerge in algorithmic cultures allegedly devised to be blind to them? To answer this question, this book investigates a fundamental axiom in computer science: pattern discrimination. By imposing identity on input data, in order to filter—that is, to discriminate—signals from noise, patterns become a highly political issue. Algorithmic identity politics reinstate old forms of social segregation, such as class, race, and gender, through defaults and paradigmatic assumptions about the homophilic nature of connection.Instead of providing a more “objective” basis of decision making, machine-learning algorithms deepen bias and further inscribe inequality into media. Yet pattern discrimination is an essential part of human—and nonhuman—cognition. Bringing together media thinkers and artists from the United States and Germany, this volume asks the urgent questions: How can we discriminate without being discriminatory? How can we filter information out of data without reinserting racist, sexist, and classist beliefs? How can we queer homophilic tendencies within digital cultures?Trade Review"How are we to contend with the many forms of pattern discrimination in contemporary life? This book shows the complexity of the terrain and reminds us what is at stake."—Kate Crawford, AI Now Institute NYU"Profound and provocative, this book demonstrates the enduring relevance of theory to contemporary digital dilemmas. Addressing platform capitalism, democratic decay, and the future of labor and play, the authors illuminate the alien intelligence of big data, pattern recognition, machine learning, and artificial intelligence."—Frank Pasquale, University of Maryland

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Book SynopsisMiryam Sas explores the potentialities and limitations of media theory and media art in Japan, showing how artists and theorists reframe ideas about collectivity, community, and connectivity.

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Book Synopsis Spanish comics represent an exciting and diverse field, yet one that is often overlooked outside of Spain. Spanish Comics offers an overview on contemporary scholarship on Spanish comics, focusing on a wide range of comics dating from the Francoist dictatorship, 1939-1975; the Political Transition, 1970-1985; and Democratic Spain since the early 1980s including the emergence of the graphic novel in 2000. Touching on themes of memory, gender, regional identities, and history, the chapters in this collection demonstrate the historical and cultural significance of Spanish comics.Trade Review “If anyone is planning a course on contemporary Spanish comics, please look no further. This title is the ideal companion for any class on this topic. On the other hand, one of the virtues of graphic narratives is the amount of information they can transmit about the culture, history, and politics of any location, making them a suitable vehicle for the examination of any context. Anne Magnussen’s edited volume is a flawless example of this aspect…Overall, Magnussen’s volume does a superb job bringing together a select group of scholars to discuss and examine the contemporary Spanish comics scene… Anyone reading this book will understand well why Spanish comics are thriving. Their effervescence and vibrancy denote an area of the national cultural industry that shows no signs of faltering or hesitancy,” • Comic Art BlogTable of Contents Introduction: Spanish Comics. Historical and Cultural Perspectives Anne Magnussen Chapter 1. Dissenting Voices? Controlling Children’s Comics under Franco Rhiannon McGlade Chapter 2. Satirical Panels against Censorship. A Battle That Raged during the Spanish Transistion Gerardo Vilches Chapter 3. Tintin in the Movida Madrileña. Gender and Sexuality in the Punk Comic Book Zine Scene Louie Dean Valencia-García Chapter 4. From Pioneer of Comics to Cultural Myth. Castelao in Galician Graphic Biography David Miranda-Barreiro Chapter 5. The Representation of Traumatic Memory in Spanish Comics. Remembering the Civil War and Francoism Juan Carlos Pérez García Chapter 6. ‘For He Bestirred Himself to Protect the Land from the Moors’. Depicting the Medieval Reconquista in Modern Spanish Graphic Novels Iain A. MacInnes Chapter 7. An interview with Paco Roca Esther Claudio Chapter 8. ‘They Tried To Bury Us; They Didn’t Know We Were Seeds’: Intergenerational Memory and La Casa Sarah D. Harris Chapter 9. Paco Roca’s Graphic Novel La Casa (2015) as Architectural Elegy Benjamin Fraser Chapter 10. Therapeutic Journeys in Contemporary Graphic Novels Agatha Mohring Chapter 11. Social Criticism through Humour in the Digital Age. Multimodal Extension in the Works of Aleix Saló Javier Muñoz-Basols and Marina Massaguer Comes Chapter 12. Historicising the Emergence of Comics Art Scholarship in Spain, 1965–1975 Antonio Lázaro-Reboll

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Book SynopsisExplore the nuanced storytelling and inner-workings of the hit first-person shooter Borderlands video game series through a funny, self-reflexive, bold, and inclusive critical lens. The latest in ECW's acclaimed Pop Classics collection.

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Book SynopsisFew trends have had as much impact on television as formats have in recent years. Long confined to the fringes of the TV industry, they have risen to prominence since the late 1990s. Today, they are a global business with hundreds of programmes adapted across the world at any one time, from mundane game shows to blockbuster talent competitions, from factual entertainment to high-end drama. Based on exclusive industry access, this book provides an in-depth analysis of the complex world of the TV format from its origins to the present day. Chalaby delivers a comprehensive account of the TV format trading system and conceptualizes the global value chain that underpins it, unpicking the corporate strategies and power relations within. Using interviews with format creators, he uncovers the secrets behind the world’s most travelled formats, exploring their narrative structure and cultural meanings.Trade Review"The Format Age is the most exhaustive analysis yet undertaken of a modern TV phenomenon. It explores both the economy and the culture of a global entertainment business which delivers local value. And it explains why and how it came about."Peter Bazalgette, Chair of Arts Council England"With his customary élan, Jean Chalaby has done a great service to our understanding of the international flow of culture. The Format Age is a judicious theoretical and empirical intervention. Bravo!"Toby Miller, University of California, RiversideTable of ContentsContentsAcknowledgementsTables and FiguresIntroduction Part One: Birth of a New TradeChapter 1 TV Formats as an Anglo-American Invention Chapter 2 The Making of an Entertainment RevolutionChapter 3 The Advent of The Super-FormatsPart Two: Production and Globalization Chapter 4 The Formation of the Global Format Trading SystemChapter 5 Nations and Competition: Upgrading Strategies in the TV Format Commodity ChainChapter 6 A Globalized Intellectual Property Market: The International Production ModelPart Three: TV Formats: Structuring NarrativesChapter 7 Journeys and Transformations: Unscripted Formats in the 21st CenturyChapter 8 Talent Competitions: Myths and Heroes for the Modern Age Chapter 9 Drama without Drama: The Late Rise of Scripted FormatsConclusion: Trade, Culture and TelevisionNotesPersonal Communications and Interviews by the AuthorReferences

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Book SynopsisThis is the first book to connect digital media technologies in digital sociology to traditional sociological and offers a much needed overview of it. It includes problems of the digital age in relation to inequality and identity, making it suitable for use for a global audience on a variety of courses.Trade Review"Highly recommended [for] graduate students and faculty." - CHOICE"A comprehensive account of the digital sociology project whose scope is startling in its ambition and which shows how the digital has implications for nearly all sociological topics, questions and problems." David Beer, University of YorkTable of ContentsPreface ~ Sassen; Volume Introduction ~ Gregory, Cottom, Daniels; PART I. DIGITAL SOCIOLOGY IN EVERDAY LIFE; (SECTION INTRO) Structure and Agency in a Digital World ~ Karen Gregory; Beyond Digital Dualism: Modeling Digital Community ~ Alexia Maddox; A Return to Gemeinschaft: Digital Impression Management and the Sharing Economy ~ Alexandrea Ravenelle; Digital Discourse Analysis: Finding Meaning In Small Online Spaces ~ Timothy Recuber; Virtually Ethical: Ethnographic Challenges in Researching Textile Crafters Online ~ Alison Mayne; Interactivity, Social Media, and Superman: How Comic Books Can Help Us Understand And Conceptualise Interactivity Online ~ Harry T. Dyer; The Digital Solidarity Trap: Social Movement Research and Online Activism ~ Theresa A. Hunt; Positively Digital Orientalism: Discursive Authority in Online Tourist Reviews ~ W. Trevor Jamerson; PART II: DIGITIZED INSTITUTIONS; (SECTION INTRO) Digitized Institutions and Inequalities ~ Tressie McMillan Cottom; Toward a Digital Sociology of School ~ Neil Selwyn, Selena Nemorin, Scott Bulfin and Nicola Johnson; Representing ‘Inforgs’ in Data-Driven Decisions ~ Jeffery Alan Johnson; Employee Monitoring in a Digital Context ~ Calle Rosengren and Mikael Ottoson; Digital Sociology’s Vocational Promise ~ Stephen Barnard; Black CyberFeminism: Ways Forward for Intersectionality and Digital Sociology ~ Tressie McMillan Cottom; Deconstructing Racism on College Websites ~ Monita H. Mungo; Yakking About College Life ~ Francesca Tripodi; On Thursdays We Watch Scandal: Communal Viewing and Black Twitter ~ Apryl Williams; Disruptive Labor: Bleacher Report and the Monetization of Mass Amateurization ~ Andrew McKinney; Covert Leisure and Public Space: Geocaching In Post-9/11 New York City ~ Jonathan R. Wynn; PART III: DIGITAL BODIES; (SECTION INTRO), Bodies in Code ~ Jessie Daniels; Personal Data Practices in the Age of Lively Data ~ Deborah Lupton; “They’re just too urban”: Black gamers streaming on Twitch ~ Kishonna Gray; From “Geek” to “Chic”: Wearable Technology and the Woman Question ~ Elizabeth Wissinger; Queer Facebook? Digital Sociality and Queer Theory ~ Benjamin Haber; The Ms. Dewey “Experience”: Technoculture, Gender, and Race ~ Miriam E. Sweeney; The Emperor’s New Data Clothes: Implications of ‘Nudity’ as a Racialized and Gendered Metaphor in Discourse on Personal Digital Data ~ Yuliya Grinberg; Post Your Comments Below: A Case Study of Immigrant Bashing Online ~ Adrian Cruz and Kazuyo Kubo; Our Mothers Have Always Been Machines: The Conflation of Media and Motherhood ~ Kara Van Cleaf; #notracist: Exploring Racism Denial Talk on Twitter ~ Sanjay Sharma and Phillip Brooker.

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Book SynopsisSince its founding in 1947, the legendary Magnum Photos agency has been telling its own story about photographers who were witnesses to history and artists on the hunt for decisive moments. Based on unprecedented archival research, The Decisive Network unravels Magnum's mythologies to offer a new history of what it meant to shoot, edit, and sell news images after World War II. Nadya Bair shows that between the 1940s and 1960s, Magnum expanded the human-interest story to global dimensions while bringing the aesthetic of news pictures into new markets. Working with a vast range of editorial and corporate clients, Magnum made photojournalism integral to postwar visual culture. But its photographers could not have done this alone. By unpacking the collaborative nature of photojournalism, this book shows how picture editors, sales agents, spouses, and publishers helped Magnum photographers succeed in their assignments and achieve fame. Bair concludes in the late 1960s and early 1970s, when changing market conditions led Magnum to consolidate its brand. In that moment, Magnum's photojournalists became artists and their assignments oeuvres. Bridging art history, media studies, cultural history, and the history of communication, The Decisive Network transforms our understanding of the photographic profession and the global circulation of images in the predigital world.Trade Review"Ms. Bair’s book excels at revealing Magnum’s secret history as a supplier for companies eager to appropriate Magnum’s empathetic point of view." * Wall Street Journal *"In this impressively researched study of the early decades of Magnum, Nadya Bair uncovers the complex interactions of artistic ambition and business acumen that somehow produced a kind of order out of chaos. . . . An important contribution to the growing reassessment of photographic history. " * Inside Story *"Bair’s independent thinking ​. . . and the innovative premise used to map them is just the kind of thing photo history needs more of.​" * Critical Inquiry *"An archivally rich and methodologically innovative study." * Art Journal *Table of ContentsIntroduction 1. Photo Agencies and the Magnum Model 2. Human-Interest Stories from the Postwar World 3. Freelancing for Life 4. Traveling for Holiday 5. Shooting for Corporations 6. Magnum Systems, Magnum Mythologies Conclusion: The Magnum Archive Acknowledgments Notes Bibliography Index

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Book SynopsisIf farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? What Comes After Farce? comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are "machine vision" (images produced by machines for other machines without a human interface),"operational images" (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.Trade ReviewEvery word cuts to the quick in this extraordinary book. Foster shows that true criticism must be swift and surgical, but it must also hurt. He casts his relentless and unflinching gaze on the crises of our time, from new fundamentalisms to alternative facts, from cultural imperialism to perpetual war. And yet these essays do not pose the twenty-first century as a cycle of tragedy and farce, doomed to repeat itself, but as a threshold-through which art can, and perhaps must, take us * Michelle Kuo *What Comes After Farce confirms what many have known for a long time: Hal Foster is indisputably the most important cultural critic writing in English today. No one else consistently offers such nuanced and cogent analyses of the tangled trajectories of the arts and media in this era of globalized financial capitalism. At the same time, few come close to Foster's discerning familiarity with the work of the most venturesome artists, novelists, filmmakers, and architects or to his critical understanding of the difficulties and challenges now facing them in our current state of emergency. -- Jonathan Crary, author of 24/7These essays, mostly on art (and culture and politics and violence and technology), read as one seamless and disturbing account of a catastrophic historical epoch: our own. Hal Foster offers no solace but instead his deft and trenchant wisdom on how we got here. -- Rachel KushnerIlluminating, theoretically informed criticism of contemporary art. -- Kevin Brazil * art-agenda *The rapid pace of Foster's prose captures the frenzied historical moment he is exploring, and his reluctance to offer simple answers acknowledges that multiple possibilities for reshaping our culture are currently ranged against each other. ... [this] lively and eloquent book convinces us that provocative artistic interventions remain possible. -- Oliver Eagleton * Guardian *Foster traces how artists have responded to the political situation, while also asking how art criticism should respond to artworks and, through them, the broader moment ... The title [What Comes After Farce?] is apt, not only because it invokes a great problem facing the left-how to imagine a future amid this mess-but also because it reflects the interrogative quality of the book's texts. -- Erika Balsom * Art in America *The clarity of his prose is satisfying in itself ... While I was reading What Comes After Farce? I felt that I was in the hands of one of the most skillful critics at work today. -- Barry Schwabsky * The Nation *Foster's various texts move smartly and broadly across spheres ranging from sculpture and painting to cinema and literature, but most consistently he choreographs a dance between art and the larger culture that is its cradle. The articulation of one always imprints the other. Time and again in this respect, Foster is a pleasure to read for his sweeping statements that are still earned in their matter-of-factness, as when he makes short work of the contemporary art world's spiraling expansion in tandem with shifting economic structures. -- Tim Griffin * Artforum *Magisterial ... [Foster possesses] a breathtaking erudition that he wears lightly. -- PopMatters * Vince Carducci *

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Book SynopsisAn in-depth exploration of social media and emergent technology that details the inner workings of modern propagandaTrade Review“A century ago, Walter Lippmann recognized that ‘manufacture of consent’ is a new art in the practice of democracy. By now an outgrowth, ‘manufacturing consensus’ has become a science, a way to ‘leverage computational propaganda to spin information flows over social media.’ We are introduced here to a dazzling array of systems of manufacturing consensus in the digital communication age, with an astonishing variety of actors—and ominous implications.”—Noam Chomsky, Massachusetts Institute of Technology“This timely, well-written, and impactful book reintroduces the term propaganda to readers in a relatable and contemporary way. It is exceptionally modern in its approach, and places the term propaganda at center stage of any conversation on politics, democracy, and technology.”—Zizi Papacharissi, University of Illinois Chicago“I always turn to Samuel Woolley’s work in order to understand computational propaganda. This lucid, eye-opening book illuminates the many (sometimes sinister) ways that bot-based influence campaigns operate in the digital world.”—Meredith Broussard, author of More Than a Glitch: Confronting Race, Gender, and Ability Bias in Tech“This book is for anyone wanting to understand the complex landscape of online propaganda, including the role of states, algorithmic tools, and social media companies.”—Kate Crawford, author of Atlas of AI“A thoughtful and often humorous primer on computational propaganda, drawing from cases that crisscross continents. If you want to learn about the intersection of politics and the internet, start here.”—Emerson Brooking, coauthor of Likewar: The Weaponization of Social Media

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Book SynopsisIn Nonhuman Witnessing Michael Richardson argues that a radical rethinking of what counts as witnessing is central to building frameworks for justice in an era of endless war, ecological catastrophe, and technological capture. Dismantling the primacy and notion of traditional human-based forms of witnessing, Richardson shows how ecological, machinic, and algorithmic forms of witnessing can help us better understand contemporary crises. He examines the media-specificity of nonhuman witnessing across an array of sites, from nuclear testing on First Nations land and autonomous drone warfare to deepfakes, artificial intelligence, and algorithmic investigative tools. Throughout, he illuminates the ethical and political implications of witnessing in an age of profound instability. By challenging readers to rethink their understanding of witnessing, testimony, and trauma in the context of interconnected crises, Richardson reveals the complex entanglements between witnessing and violencTrade Review“The work of Michael Richardson is like a four dimensional cartography to navigate the hyperaesthetics of our post-photographic present.” -- Eyal Weizman, coauthor of * Investigative Aesthetics: Conflicts and Commons in the Politics of Truth *“Foregrounding the ethical dimensions of the convergence between the fields of security and ecology, Michael Richardson explores whether witnessing is taking place beyond the boundaries of the human. By making a fantastic case for the reversal of the humanist concept of witnessing, Richardson impacts what kinds of research questions can be asked across the disciplines.” -- Jairus Victor Grove, author of * Savage Ecology: War and Geopolitics at the End of the World *Table of ContentsAcknowledgments ix Introduction. Nonhuman Witnessing 1 1. Witnessing Violence 37 2. Witnessing Algorithms 80 3. Witnessing Ecologies 112 4. Witnessing Absence 150 Coda. Toward a Politics of Nonhuman Witnessing 174 Notes 185 Bibliography 207 Index 229

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Book SynopsisSteve Krakauer''s new book, Uncovered, is vital reading. It''s the best and most perceptive deep dive into legacy media bias out there, from someone who knows where all the bodies are buried. ? Ben ShapiroOne of the most insightful critiques that has been published on this topic in years. ? Glenn GreenwaldIn Uncovered, America''s sharpest media critic, former CNN insider Steve Krakauer, reveals exactly what went wrong -- and why the media went off the rails. The fourth estate is supposed to be a conduit to the people and a check on power. But instead, we have geographically isolated, introspection-free, cozy-with-power, egomaniacal journalists thirsty for elite approval. Krakauer dives deep into some of the most egregious examples of the elite censorship collusion racket, like how tech suppression and media fear led to the New York Post-Hunter Biden email debacle before the 2020 election. Krakauer takes readers inside CNN after

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Book SynopsisOn November 22, 1963, the author of Behind the Scenes was a young Dallas Times Herald reporter who sprinted from his newspaper desk to Dealey Plaza minutes after shots were fired at President John F. Kennedy. Thus began Darwin Payne’s close involvement in covering one shocking event after another on this history-making weekend. Eyewitnesses he found at Dealey Plaza included Abraham Zapruder, who insisted from the first moments that the president could not have survived the serious wounds he had seen so clearly through his camera viewfinder. Payne interviewed detectives outside the School Book Depository that early afternoon as they brought down evidence of the shooter’s location, as well as his rifle, and he was among several journalists taken to the assassin’s sixth-floor window from where fatal shots had been fired.Before the day ended, Payne was in the Oak Cliff rooming house where the suspect had been living briefly apart from his Russian wife, Marina. Payne learned that the alleged assassin, now in police custody after being charged with the murder of officer J. D. Tippit, was known as O. H. Lee instead of Lee Harvey Oswald.On Payne’s regular Saturday night police-beat duty, he was among the growing number of assertive journalists from throughout the nation who saw and heard Oswald being led to and from his jail cell to the homicide office for interrogation. As detectives pushed their way with him through the crowd of reporters, he responded to their questions with defiant claims of innocence. The mind-boggling weekend was still not over, for the next morning nightclub owner Jack Ruby shot and killed Oswald.Trade ReviewBehind the Scenes is an outstanding introduction because of its knowledge of Dallas both before and after the assassination; its portrayal of key actors, such as Bruce Alger and Will Fritz; and how it contextualizes November 22." - Max Holland, journalist and author of The Kennedy Assassination Tapes

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Book SynopsisA leading cognitive scientist and philosopher offers a new framework for recognizing and countering misleading claims by exploring the ways that information works—and breaks down.Trade ReviewIn this important book, renowned philosopher Paul Thagard doesn’t beat around the bush: misinformation kills. But what is misinformation exactly? Thagard offers not only a bold new theory but also actionable solutions. A timely and compelling read. -- Sander van der Linden, author of Foolproof: Why Misinformation Infects Our Minds and How to Build ImmunityPaul Thagard has done a great public service by writing such an accessible, comprehensive book on what many feel is the great scourge of our age: misinformation. I am delighted to see a philosopher of such stature take on this problem, bringing logic, crystal-clear prose, and a little hope to a topic that affects us all. This is public philosophy at its finest. -- Lee McIntyre, author of On Disinformation: How to Fight for Truth and Protect DemocracyFalsehoods Fly gives a novel framework for thinking about the various mechanisms involved in the spread of misinformation. By breaking this process down into concrete stages, Thagard helps identify what makes people susceptible to false beliefs. He draws on the latest in cognitive science to identify where the processes of misinformation can best be interrupted and stopped. A range of current examples, from the COVID-19 pandemic to the Russia-Ukraine war, helps situate his arguments. This insightful book can help us all better understand ourselves and improve our ability to form good beliefs. -- Cailin O'Connor, coauthor of The Misinformation Age: How False Beliefs SpreadIn his signature lucid and witty style, Paul Thagard offers a novel theory of misinformation—how it is generated and spread and how it can be fixed. His theory is rooted in a solid foundation and comes with a healthy dose of optimism that bullshitters and their "alternative facts" will not prevail. A refreshing perspective and satisfying read. -- Olaf Dammann, Tufts University School of MedicineTable of ContentsPrefaceAcknowledgments1. Lies Kill: The Perils of Misinformation2. Information and Misinformation: How They Work3. Believing What You Want: Motivated Reasoning, Emotion, and Identity4. Plagues: COVID-19 and Medical Misinformation5. Storms: Climate Change and Scientific Misinformation6. Plots: Conspiracy Theories and Political Misinformation7. Evils: Inequality and Social Misinformation8. Misinformation Self-Defense: A Manual Illustrated by the Russia-Ukraine War9. Reality Rescued: Beyond Post-TruthGlossaryNotesBibliographyIndex

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Book SynopsisAlex Preda provides an ethnographic exploration of how financial expertise is performed and produced in the media, analyzing its features and how audiences react to it. He examines how analysts, anchors, and producers collaborate in manufacturing financial talk that circulates around the world.Trade ReviewThis is easily the most original book in the sociology of finance that I have read in many years. Preda singles out financial expert talk by academics, analysts, and financial journalists, showing how it is interactionally produced and performed, and how it invades the public sphere and influences how finance is understood. This book should not be missed by sociologists of finance and financial economists. It is also a must read for science communication generally, expert studies and media studies—and for practitioners, seeking to look into a mirror of their practice. -- Karin Knorr Cetina, author of Epistemic Cultures: How the Sciences Make KnowledgeHow are we ever going to make sense of our world after the 2008 crash without understanding what financial experts think they are doing? Reaching into all the latest research on, and analysis of expertise, Alex Preda tells us what is going on when financial experts present themselves in the media. -- Harry Collins, coauthor of Why Democracies Need ScienceTalk is fundamental to how human beings interact, and what we say about money and finance matters. Focusing on Hong Kong's TV and radio studios, and employing his trademark combination of ethnographic insight and sharp sociological analysis, Preda throws important new light on financial talk, its nuances, and its audiences. -- Donald MacKenzie, author of Trading at the Speed of Light: How Ultrafast Algorithms Are Transforming Financial MarketsWritten in clear prose, Preda’s ethnography moves easily between theory and evidence. * Social Forces *Table of ContentsIntroduction1. What Is Financial Expertise?2. Talk, Spectacle, and Expertise3. The Organization of Expert Talk4. Strategic Facework: The Expert Presentation of Experts5. Unfaultable Talk6. Talk and Truth7. Managing AudiencesConclusionAppendix 1. Hong Kong as a Global Financial CenterAppendix 2. Ethnographic MethodsAcknowledgmentsNotesReferencesIndex

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Book SynopsisThe sequel nobody wants. After a decade of the Tories, could it get any worse? Spoiler it does. Towards the end of 2021, Britain had been frogmarched into an escalating series of surreal calamities. Brexit was a disaster, the NHS was in crisis, the government was bathed head-to-toe in impropriety, senior Tories were still acting as though the public purse was their personal feed-trough, and the air crackled with anger about PartyGate. All of which led to an inglorious start to 2022: the year the UK saw two monarchs, three prime ministers and four chancellors. From Boris Johnson, who trashed our international reputation and handed billions to his mates so they could ineptly fight a pandemic while he stayed at home, shagging and acting as a super-spreader; to Liz Truss, a drive-by prime minister who managed to kill off the queen and crash the economy in a single week. And now we're led by Rishi Sunak, who doesn't know how to use a credit card,

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Book SynopsisAn examination of what algorithmic polarization means for society and how conservative elites use media literacy tactics to spread propagandaTrade Review“The Propagandists’ Playbook offers a frightening description of how some very bad actors radicalize people of good will into beliefs that are contrary to their own interests and that harm America and democracy. U​nderstanding such methods is key to protecting the country and to offering hope to those who might be de-radicalized.”—Craig Newmark, Founder of Craigslist“The Propagandists’ Playbook brilliantly and empathetically illuminates the interplay between religious communities, political conservatism, hate groups, and technology to explain our contemporary struggle with disinformation and polarization. Informative and grounding, Tripodi’s book provides a framework for going beyond quick-fix thinking. This is essential reading for anyone anxious about partisan politics, social media, or information disorder.”—danah boyd, author of It’s Complicated: The Social Lives of Networked Teens“The Propagandists’ Playbook takes readers down the rabbit hole of the conservative media disinformation complex, showing lies are a path to power. This is a vital, meticulously researched warning on the threat posed by conservative media manipulation.”—Victor Ray, The University of Iowa "Tripodi provides a Rosetta stone for understanding how conservative voters interpret news, legislation and politicians' pronouncements. Through her guidance, much of what’s so baffling about contemporary US political discourse becomes disturbingly clear."—Ethan Zuckerman, author of Mistrust: Why Losing Faith in Institutions Provides the Tools to Transform Them

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Book SynopsisA vital reckoning with how we understand the basic categories of cultural expression in the digital era Digital and social media have transformed how much and how fast we communicate, but they have also altered the palette of expressive strategies: the cultural forms that shape how citizens, activists, and artists speak and interact. Most familiar among these strategies are storytelling and representation. In A Theory of Assembly, Kyle Parry argues that one of the most powerful and pervasive cultural forms in the digital era is assembly.Whether as subtle photographic sequences, satirical Venn diagrams, or networked archives, projects based in assembly do not so much narrate or represent the world as rearrange it. This work of rearranging can take place at any scale, from a simple pairing of images, undertaken by one person, to the entire history of internet memes, undertaken by millions. With examples ranging from GIFs and paintings to museum exhibitions and social movement hashtags, Parry shows how, in the internet age, assembly has come to equal narrative and representation in its reach and influence, particularly as a response to ecological and social violence. He also emphasizes the ambivalence of assembly—the way it can be both emancipatory and antidemocratic.As the world becomes ever hotter, more connected, and more algorithmic, the need to map—and remake—assembly’s powers and perils becomes all the more pressing. Interdisciplinary, engaging, and experimental, A Theory of Assembly serves as a playbook of strategies and critical frameworks for artists, activists, and content creators committed to social and environmental justice, ultimately arguing for a collective reenvisioning of which cultural forms matter.Cover alt text: Letters from the title appear in a jumble, each colored in a blue-orange gradient. Readable title and author sits below the jumble.Trade Review "Kyle Parry's remarkable book offers an eclectic theory of assembly, shifting the focus from political theory to aesthetic and media practices. This is a wide-ranging and original work that keeps shifting angles to produce the sense of vibrant, if problematic, new constellations of the various assemblies that pervade contemporary life. Mindful of both the progressive and reactionary forms that assemblies can take, Parry probes the intensified circulation of digital assemblies in all their ambivalence."—Judith Butler, University of California, Berkeley "Fitting its title, A Theory of Assembly coalesces studies of media, information, folklore, and art into a significant contribution on the content we create, curate, and share. With an apt balance of sophistication and clarity, Kyle Parry shows why and how ‘assembly’ is the perfect keyword for contemporary cultural production."—Ryan M. Milner, author of The World Made Meme: Public Conversations and Participatory Media "... [A]n essential (and quite timely) text for anyone working in visual culture, digital studies, art history, material culture, the environmental humanities, media studies, or some assembly therein."—Film Quarterly

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Book Synopsis''A brilliant clarion call for better'' GINA MARTIN''A must read'' ROXIE NAFOUSI''An essential mirror reflecting the profound impact of beauty culture on our lives'' CHLOÉ COOPER JONESA generation defining exposé of toxic beauty culture and the realities of coming of age onlineWe are living in a new age of beauty. With advancements in cosmetic surgery, augmented reality face filters, photo editing apps, and exposure to more images than ever, we have the ability to craft a version of ourselves that we want everyone to see. We pinch, pull, squeeze, tweeze, smooth and slice ourselves beyond recognition. But is our beauty culture truly empowering? Are we really in control?In Pixel Flesh, Ellen Atlanta holds a mirror up to our modern beauty ideal and the harm it is doing to women all around the world. Weaving in her own personal story with those of other women, she reconfigures our obsession with the cult of beaut

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Book SynopsisExamines how images of accumulation help open up the climate to political mobilization The current epoch is one of accumulation: not only of capital but also of raw, often unruly material, from plastic in the ocean and carbon in the atmosphere to people, buildings, and cities. Alongside this material growth, image-making practices embedded within the fields of art and architecture have proven to be fertile, mobile, and capacious. Images of accumulation help open up the climate to cultural inquiry and political mobilization and have formed a cultural infrastructure focused on the relationships between humans, other species, and their environments.The essays in Accumulation address this cultural infrastructure and the methodological challenges of its analysis. They offer a response to the relative invisibility of the climate now seen as material manifestations of social behavior. Contributors outline opportunities and ambitions of visual scholarship as a means to encounter the challenges emergent in the current moment: how can climate become visible, culturally and politically? Knowledge of climatic instability can change collective behavior and offer other trajectories, counteraccumulations that draw the present into a different, more livable, future.Contributors: Emily Apter, New York U; Hans Baumann; Amanda Boeztkes, U of Guelph; Dominic Boyer, Rice U; Lindsay Bremner, U of Westminster; Nerea Calvillo, U of Warwick; Beth Cullen, U of Westminster; T. J. Demos, U of California, Santa Cruz; Jeff Diamanti, U of Amsterdam; Jennifer Ferng, U of Sydney; Jennifer Gabrys, U of Cambridge; Ian Gray, U of California, Los Angeles; Gökçe Günel, Rice U; Orit Halpern, Concordia U; Gabrielle Hecht, Stanford U; Cymene Howe, Rice U; Wendy Hui Kyong Chun, Simon Fraser U; Robin Kelsey, Harvard U; Bruno Latour, Sciences Po, Paris; Hannah le Roux, U of the Witwatersrand, Johannesburg; Stephanie LeMenager, U of Oregon; Nashin Mahtani; Kiel Moe, McGill U; Karen Pinkus, Cornell U; Stephanie Wakefield, Life U; McKenzie Wark, The New School; Kathryn Yusoff, Queen Mary U of London.

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Book SynopsisThe advent of new screening practices and viewing habits in the twenty-first century has spurred debate over what it means to be a “cinephile.” Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images.Trade ReviewAnxious Cinephilia is a remarkably balanced and inclusive take on our affection for images and related apprehensions. -- Jeff Heinzl * Spectrum Culture *Anxious Cinephilia gives us the most far-reaching theorization of cinephilia yet. This exploration of desire and anxiety as twin impulses unearths novel connections across film cultures, affective states, and moments of technological change, from early cinema to cinematic spectacle in the digital era. Keller produces a fascinating remapping of the shifting relationship between the spectator and the beloved object and refashions cinephilia for our anxious times. -- Belén Vidal, author of Heritage Film: Nation, Genre, and RepresentationThis quietly incendiary book makes a crucial intervention in the study of cinephilia by showing how the love of cinema has always been intertwined with anxiety. In embracing an expansive and historicized sense of cinephilia, it stands as an important corrective to previous scholarship that has far too often privileged French postwar auteurist film culture. A brilliant and ambitious work that will help spark a thousand cinema conversations. -- Girish Shambu, author of The New CinephiliaIf the x-axis of cinephile is love, then the y-axis—as Sarah Keller convincingly shows—is anxiety, fear, worry. With an acute sensitivity to the historical, phenomenological, technological, and generic ways in which this love/anxiety gets triggered, Keller provocatively deepens our understanding of the powerful, mysterious, multifaceted phenomenon we call cinephilia—and, importantly, she convincingly shows that cinephilia is not just a thing of the past but is still very much with us. Every cinephile will read this book with layers of emotional recognition. -- Christian Keathley, author of Cinephilia and History, or The Wind in the TreesAnxious Cinephilia is a meta-textual job well-done. * Senses of Cinema *Anxious Cinephilia provides a great departure point for readers to formulate their own cinephilic inquiries. * Cineaste *Table of ContentsAcknowledgmentsIntroduction1. Ardor and Anxiety: The History of Cinephilia2. Enchanting Images3. Cinephilia and Technology: Anxieties and Obsolescence4. The Exquisite ApocalypseConclusion: Anxious Times, Anxious CinemaNotesSelected BibliographyIndex

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Book SynopsisFlips the script on communication disability, positioning the unruly, disabled speaker at the centre of analysis to challenge the belief that more communication is unquestionably good. Joshua St Pierre brings together the dysfluent speaker, the talking head, and the troll to show how speech is made cheap to meet the inhuman needs of capital.Trade Review“St. Pierre has produced a work that is philosophically and theoretically rich while remaining accessible to a wide range of readers. The book’s careful attention to non-normative modes of communication and exchange works to push past the boundaries of liberal humanist understandings of intelligibility and inclusion towards radically new spaces of political belonging.”— Anne McGuire, University of TorontoTable of Contents Acknowledgements Introduction. Stuttering, Trolls, and Talking Heads One. Putting Fluency to Work Two. Controlling Communication Three. Becoming Talking Heads Four. Stuttering Parrhesia Coda. Rehabilitation Bibliography Index

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Book SynopsisSomewhere in the tangle of the subject's burden and the subject's desire is your story.Alex TizonEvery human being has an epic story. The late Pulitzer Prizewinning writer Alex Tizon told the epic stories of marginalized peoplefrom lonely immigrants struggling to forge a new American identity to a high school custodian who penned a New Yorker short story. Edited by Tizon's friend and former colleague Sam Howe Verhovek, Invisible People collects the best of Tizon's rich, empathetic accountsincluding My Family's Slave, the Atlantic magazine cover story about the woman who raised him and his siblings under conditions that amounted to indentured servitude. Mining his Filipino American background, Tizon tells the stories of immigrants from Cambodia and Laos. He gives a fascinating account of the Beltway sniper and insightful profiles of Surfers for Jesus and a man who tracks UFOs. His articlesmany originally published in the Seattle Times and the Los Angeles Timesare brimming with enlightTrade Review“Alex Tizon is the master of the telling detail that penetrates the surface and makes us understand something or someone—and ultimately ourselves—in a deeper way. Tizon’s beautiful book is as powerful as they come.”—Cheryl Strayed"[B]oth longtime fans and those relatively new to Tizon’s work will come away from this collection with an appreciation for his unquestionable ability to narrate unusual stories in memorable ways."--Publishers Weekly

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Book SynopsisHow computer animation technologies became vital visualization tools in the life sciences Who would have thought that computer animation technologies developed in the second half of the twentieth century would become essential visualization tools in today’s biosciences? This book is the first to examine this phenomenon. Molecular Capture reveals how popular media consumption and biological knowledge production have converged in molecular animations—computer simulations of molecular and cellular processes that immerse viewers in the temporal unfolding of molecular worlds—to produce new regimes of seeing and knowing.Situating the development of this technology within an evolving field of historical, epistemological, and political negotiations, Adam Nocek argues that molecular animations not only represent a key transformation in the visual knowledge practices of life scientists but also bring into sharp focus fundamental mutations in power within neoliberal capitalism. In particular, he reveals how the convergence of the visual economies of science and entertainment in molecular animations extends neoliberal modes of governance to the perceptual practices of scientific subjects. Drawing on Alfred North Whitehead’s speculative metaphysics and Michel Foucault’s genealogy of governmentality, Nocek builds a media philosophy well equipped to examine the unique coordination of media cultures in this undertheorized form of scientific media. More specifically, he demonstrates how governmentality operates across visual practices in the biosciences and the popular mediasphere to shape a molecular animation apparatus that unites scientific knowledge and entertainment culture.Ultimately, Molecular Capture proposes that molecular animation is an achievement of governmental design. It weaves together speculative media philosophy, science and technology studies, and design theory to investigate how scientific knowledge practices are designed through media apparatuses.Trade Review"Thoughtful and deeply researched, Molecular Capture brings together history of science, media theory, and philosophy of representation, power, and governmentality to present a provocative argument about the relation of entertainment and science as crystallized in the form of molecular animation."—Kirsten Ostherr, director of the Medical Futures Lab and the Medical Humanities Program, Rice University"Putting aside traditional film history models, Molecular Capture theorizes the time-based molecular model’s emergence across the science-entertainment divide. Part history of animation and part speculative visual theory of science imaging, Molecular Capture shows us the extent to which our fascination with the molecular, and molecules themselves, move fluidly across the science-entertainment divide."—Lisa Cartwright, University of California, San DiegoTable of ContentsContentsIntroduction: On Speculative Media PhilosophyPart I1. Molecular Entertainment2. Visuality and Experimental Knowledge Practices3. A Feeling for Theoretical BiologyPart II4. Eco-social Media5. Governing the SocialPart III6. The Animation Apparatus7. Epistemic CapturePostscript: A Prolegomenon to Governmental DesignAcknowledgmentsNotesVideography BibliographyIndex

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Book SynopsisExplains why audiences dislike certain media and what happens when they doThe study and discussion of media is replete with talk of fans, loves, stans, likes, and favorites, but what of dislikes, distastes, and alienation?Dislike-Minded draws from over two-hundred qualitative interviews to probe what the media's failures, wounds, and sore spots tell us about media culture, taste, identity, representation, meaning, textuality, audiences, and citizenship. The book refuses the simplicity of Pierre Bourdieu's famous dictum that dislike is (only) snobbery. Instead, Jonathan Gray pushes onward to uncover other explanations for what it ultimately means to dislike specific artifacts of television, film, and other media, and why this dislike matters.As we watch and listen through gritted teeth, Dislike-Minded listens to what is being said, and presents a bold case for a new line of audience research within communication, media, and cultural studies.Trade ReviewDislike-Minded offers rich theories and much-needed vocabularies for understanding our complex relationships with media that annoy, bother, and haunt us. It helps us make sense of anti-fans, media failure, involuntary reception, second-hand media exposure, and all those negative feelings generated by media engagements. Rooted in lived experience, it explores routine audience practices in their social contexts and uncovers the reasons why we consume media we simply do not like. Clearly written and evocatively argued, this book is a must-read for anyone interested in audience research, media affect, and everyday life. * Andre Cavalcante, author of Struggling for Ordinary: Media and Transgender Belonging in Everyday Life *A critical and incisive expansion of Jonathan Gray’s foundational work on antifandom, Dislike-Minded offers a nuanced and theoretically rich model for understanding the motivations and mechanics of dislike. Gray’s insightful exploration of taste cultures and the ways in which degrees of privilege shape our relationships to media objects makes this an essential book for better understanding our deeply polarized culture. As Gray’s robust ethnographies make clear, there are many things to dislike about our contemporary media landscape, but I am happy to report I found nothing to dislike about this book. * Suzanne Scott, author of Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry *In Dislike-Minded, [Gray] makes a deeply compelling argument to stare directly into the face of an idea that we find distasteful and inappropriate, but in the name of bettering ourselves, through an entertaining, yet thoroughly complex piece of research that is indeed worthy of its name. * Communication Design Quarterly *

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Book SynopsisIn this vividly written and amply illustrated book, Gay L. Gullickson analyzes the representations of women who were part of the insurrection known as the Paris Commune. The uprising and its bloody suppression by the French army is still one of the...Trade ReviewGullickson offers a persuasive account based on an almost exhaustive marshaling of the relevant evidence.... a contribution to our fuller understanding of the Commune and its role in reinforcing gender stereotypes. * American Historical Review *

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Book SynopsisThe Anime Boom in the United States is a comprehensive and empirically grounded study of the expansion of anime marketing and sales into the United States. It explores the transnational networks of anime production and marketing while also investigating the cultural and artistic processes the art form inspired.

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