The purpose of this volume is to broaden scholars' analytical perspective by placing the creative industries in frameworks that compare and contrast them with other kinds of entities, organizations, and social forms that mix creativity and production. In other words, this volume aims to set out an emerging agenda for the study of creativity in the cultural and media industries. Although this work focuses on the media and cultural industries, they are investigated in the context of other groups and organizations connecting forms of creativity with an explicit emphasis on turning ideas into concrete practices and products. The originality of this book lies in (1) presenting a comparative and interdisciplinary perspective that develops a new framework and analytical concepts to understand the notion of creativity in the media and cultural industries, and (2) providing a series of fresh empirically based studies of the process of creativity in fields such as advertising, fashion, animation, and pop culture. This comparative move is taken in order to generate new insights about the particular features of the creative industries and new questions for future analysis.

Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts-from the privileged few who witnessed experimental and limited-schedule programming in the 1920s and 1930s, to those who bought TV sets and hoisted antennae in the post-World War II television boom, to still more who invested in color receivers and cable subscriptions in the 1960s. While the first two major sections of this study show the views of television's first broad public, the third section shows how social and media critics, literary and visual artists, and others have expressed their charmed or chagrinned responses to television in its earliest decades. Media-jaded Americans, especially younger ones, would be surprised to know how eagerly their forebears anticipated the arrival of television. Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts-from the privileged few who witnessed experimental and limited-schedule programming in the 1920s and 1930s, to those who bought TV sets and hoisted antennae in the post-World War II television boom, to still more who invested in color receivers and cable subscriptions in the 1960s. Viewers' comments recall the excitement of owning the first TV receiver in the neighborhood, show the vexing challenges of reception, and record the pleasure that all young and many older watchers found in early network and local programs from the beginning to the fast-changing 1960s. While the first two major sections of this study show the views of television's first broad public, the third section shows how social and media critics, literary and visual artists, and others have expressed their charmed or chagrinned responses to television in its earliest decades.

This book acknowledges and highlights the moral excellence embedded in black queer practices of family. Taking the lives, narratives, and creative explorations of black queer people seriously, Thelathia Nikki Young brings readers on a journey of new, queer ethical methods that include confrontation, resistance, and imagination. Young asserts that family and its surrounding norms are both microcosms of and foundations for human relationships. She discusses how black queer people are moral subjects whose ethical reflection, lived experience, and embodied action demonstrate valuable moral agency for those of us thinking about liberating and life-giving ways to enact "family." Young posits that black queer people enact moral agency in ways that ought to be understood qua moral agency. Refusing to recognize the examples from this (and any other) community, Young argues, denies us all the learning and moral growth that come from connecting with diverse human experiences. This book investigates how acknowledging and critically engaging with the moral agency within marginalized subjectivities allow us to consider and bear witness to the moral potential in us all.

Climb a mountain and experience the landscape. Try to grasp its holistic nature. Do not climb alone, but with others and share your experience. Be sure the ways of seeing the landscape will be very different. We experience the landscape with all senses as a complex, dynamic and hierarchically structured whole. The landscape is tangible out there and simultaneously a mental reality. Several perspectives are obvious because of language, culture and background. Many disciplines developed to study the landscape focussing on specific interest groups and applications. Gradually the holistic way of seeing became lost. This book explores the different perspectives on the landscape in relation to its holistic nature. We start from its multiple linguistic meanings and a comprehensive overview of the development of landscape research from its geographical origins to the wide variety of today's specialised disciplines and interest groups. Understanding the different perspectives on the landscapes and bringing them together is essential in transdisciplinary approaches where the landscape is the integrating concept.

Across Western cities, there is an increasing obsession with producing manicured landscapes. Standing in contrast to these aesthetically and socially regulated spaces are the neglected sites of industrial ruins, places on the margin which accommodate transgressive and playful activities. Providing a different aesthetic to the over-coded, over-designed spaces of the city, ruins evoke an aesthetics of disorder, surprise and sensuality, offering ghostly glimpses into the past and a tactile encounter with space and materiality. Tim Edensor highlights the danger of eradicating such evocative urban sites through policies that privilege homogeneous new developments. It is precisely their fragmentary nature and lack of fixed meaning that render ruins deeply meaningful. They blur boundaries between rural and urban, past and present and are intimately tied to memory, desire and a sense of place. Stunningly illustrated throughout, this book celebrates industrial ruins and reveals what they can tell us about ourselves and our past.

During the 1960s, Margaret Mead's argument that gender identity is a product of learning in particular cultural contexts was incorporated into the sex/gender system in feminist theory. In this system, sex refers to physiological differences in the body and gender refers to learned sex-specific bodies to be viewed as separate and distinct from gender-neutral minds. In S/He Brain, Nadeau demonstrates that the sex/gender systemis not some arcane bit of academic jargon that has no impact on our daily lives. It is the greatest source of division and conflict in the politics of our sexual lives for a now obvious reason: the brains of men and women are not the same, and the differences have behavioral consequences. Further, he argues that an improved understanding of the relatinship between sex and gender could enlarge the bases for meaningful dialogue between men and women and lead to new standards for sexual equality that is more realistic and humane than the current standard. The individual most responsible for legitimating the modern distinction between sex and gender was the anthropologist Margaret Mead. According to the Mead doctrine, gender identity is almost entirely a product of learning in different cultural contexts, and sex, or biological reality, is not a determinant of this identity. The assumption that gender identity is learned in sexless, or gender-neutral, minds separate and distinct from sex-specific bodies legitimated the sex/gender system that has been foundational to feminist theory since the mid 1970s. In this system, sex refers to physiological differences in the domain of the body and gender to learned behavior in the domain of mind. Since this two-domain distinction obviated the connection between biological reality and gender identity, it allowed gender identity to be viewed as scripted or socially constructed by cultural narratives (stories, myths, legends, and the like) invented by men to control and oppress women. In ^IS/He Brain^R, Nadeau demonstrates that the sex/gender system is not in accord with biological reality for now obvious reasons-the brains of men and women are not the same, and the differences have behavioral consequences. Yet the intent of the book is to serve the cause of full sexual equality and not to escalate the gender war. Nadeau attempts to accomplish this by demonstrating that an improved understanding of the relationship between sex and gender can not only enlarge the bases for meaningful communication between men and women. It could also serve as the basis for a new and improved standard of sexual equality that eliminates the grossly unfair treatment of women sanctioned by the current standard.

This edited collection from leading scholars in the fields of media, communications, cultural studies and a number of aligned areas looks to the intersection of capitalism, crime and the media. The text is founded on the principles of cultural criminology - that how we determine and understand crime lies in the social world and that the determination of crime and its mediation in popular culture have a political basis. The book consists of eleven chapters and is divided into three sections. Section one considers the intersection of crime and capitalism in a range of contemporary cultural texts. Section two examines how various power systems influence the operation of the media in its role of reporting crime and holding the powerful to account. Section three considers how texts in a variety of formats are used to conduct politics, communicate politics and enact political decision making.

The Bloomsbury Encyclopedia of Popular Music Volume 7 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of Europe in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including Paolo Prato on Italy and Alf Bjoernberg on Sweden. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

"Kawaii" is a Japanese word that denotes "cute," "lovable," or "charming" although it does not have exactly the same meaning as those adjectives. This book proposes engineering methodologies for systematic measurement of the affective perception of kawaii, by using virtual reality and biological signals, and discusses the effectiveness of kawaii engineering for designing industrial products and services. Kawaii can draw sympathy from people and can embody a special kind of cute design, which reduces fear and makes dull information more acceptable and appealing. Following the introduction of the background of kawaii engineering in Chapter 1, Chapters 2 and 3 describe experiments on the systematic measurement and evaluation methods for kawaii products and affective evaluation experiments. Chapter 4 proposes a mathematical model to identify the physical attributes that determine kawaii in motion. Chapters 5 and 6 explain research that uses biological signals and eye-tracking. After a brief survey of psychological research on kawaii and cuteness in Chapter 7, Chapters 8 and 9 introduce the use of spoons designed to stimulate the appetite of the elderly and the practical implementation of an emotion-driven camera. Chapters 10-14 explain experimental research that examines kawaii perception of people from various cultural backgrounds. Kawaii Engineering will appeal to those who work on affective computing, product design, user experience design, virtual reality, and biological signals.

This book is about the life and times of Richard Congreve. This polemicist was the first thinker to gain instant infamy for publishing cogent critiques of imperialism in Victorian Britain. As the foremost British acolyte of Auguste Comte, Congreve sought to employ the philosopher's new science of sociology to dismantle the British Empire. With an aim to realise in its place Comte's global vision of utopian socialist republican city-states, the former Oxford don and ex-Anglican minister launched his Church of Humanity in 1859. Over the next forty years, Congreve engaged in some of the most pressing foreign and domestic controversies of his day, despite facing fierce personal attacks in the Victorian press. Congreve made overlooked contributions to the history of science, political economy, and secular ethics. In this book Matthew Wilson argues that Congreve's polemics, 'in the name of Humanity', served as the devotional practices of his Positivist church.

This book focuses on cultures that shape contemporary Asian tourist experiences. The book consists of 10 chapters, which are organised into two themes: Collectivist Culture and Wellbeing. The chapters cover emerging forms of tourism (e.g., wedding and bridal photography tourism, roots/affinity tourism and shamanic tourism), investigate a wide range of topics (e.g., tourist motivation, tourist anxiety and decision making) and consider Asian perspectives from diverse backgrounds (e.g., China, Hong Kong, Singapore, Taiwan, South Korea, Japan, Philippines, Malaysia, Indonesia, India, Bangladesh, and Nepal). The book provides tourism researchers, students and practitioners a consolidated, comprehensive and updated reference for the understanding of Asian tourists.

This edited collection takes a timely and comprehensive approach to understanding Turkey's television, which has become a global growth industry in the last decade, by reconsidering its geopolitics within both national and transnational contexts. The Turkish television industry along with audiences and content are contextualised within the socio-cultural and historical developments of global neoliberalism, transnational flows, the rise of authoritarianism, nationalism, and Islamism. Moving away from Anglo-American perspectives, the book analyzes both local and global processes of television production and consumption while taking into consideration the dynamics distinctive to Turkey, such as ethnic and gender identity politics, media policies and regulations, and rising nationalistic sentiments.

While interest in the relations of power and identity in food explodes, a hesitancy remains about calling these racial. What difference does race make in the fields where food is grown, the places it is sold and the manner in which it is eaten? How do we understand farming and provisioning, tasting and picking, eating and being eaten, hunger and gardening better by paying attention to race? This collection argues there is an unacknowledged racial dimension to the production and consumption of food under globalization. Building on case studies from across the world, it advances the conceptualization of race by emphasizing embodiment, circulation and materiality, while adding to food advocacy an antiracist perspective it often lacks. Within the three socio-physical spatialities of food - fields, bodies and markets - the collection reveals how race and food are intricately linked. An international and multidisciplinary team of scholars complements each other to shed light on how human groups become entrenched in myriad hierarchies through food, at scales from the dining room and market stall to the slave trade and empire. Following foodways as they constitute racial formations in often surprising ways, the chapters achieve a novel approach to the process of race as one that cannot be reduced to biology, culture or capitalism.

The notion of evil- does it exist? what forms does it take? -has always fascinated humankind. The evil underlying such atrocities as the Holocaust, Communist China's Tibetan abattoir, and the murderous ethnic cleansing undertaken by the Serbs and Croats seems beyond explanations or analysis. In this powerfully original work, Oppenheimer analyzes the phenomenon of evil in a mental behavior that emerges in particular conditions. Oppenheimer argues that evil contains specific, predictable ingredients. By understanding its nature, we can diagnose its specific manifestations in mass murder, genocide, and serial killings. Utilizing a variety of cinematic and literary genres in developing its evidence, the book considers such familiar films as "The Silence of the Lambs" and "Brazil," and draws upon such literary works as Richard III, Oedipus the King and the Picture of Dorian Gray. Evil and the Demonic takes a bold first step, providing a framework in which to place the horrors of human existence.

This book traces the history of formative, enduring concepts, foundational in the development of the health disciplines. It explores existing literature, and subsequent contested applications. Feminist legacies are discussed with a clear message that early sociological and anthropological theories and debates remain valuable to scholars today. Chapters cover historical events and cultural practices from the standpoint of 'difference'; formulate theories about the emergence of social issues and problems and discuss health and illness in light of cultural values and practices, social conditions, embodiment and emotions. This collection will be of great value to scholars of biomedicine, health and gender.

We live in a world obsessed with drinking. We drink at work events, lunches, book clubs and weddings. Yet no one ever questions alcohol's ubiquity. In fact, the only thing ever questions is why people don't drink. It is a qualifier for belonging. As a society, we are obsessed with health and wellness, yet we uphold alcohol as some sort of magic elixir. It is anything but.

When Holly Whitaker started to look for a way to recover, the support systems she found for recovery where archaic and patriarchal. Urging drinkers towards a newfound humility is great if you're a man, but if you're a woman and not in a position to renounce privileges you never had, a whole other approach is needed.

She embarked on a journey that led not only to her own sobriety, but revealed the insidious role alcohol plays in our society and in the lives of women in particular. What's more, she could not ignore the ways that alcohol companies were targeting women, just as the tobacco industry had successfully done generations before.

Honest, witty and trenchant, Quit Like a Woman is at once a ground-breaking look at drinking culture, a call to arms, and a celebration of learning how to claim everything life has to offer.

With studies on the United Arab Emirates, Qatar, Syria, Lebanon, Morocco and Tunisia, this collection presents a theoretical framework on the study of women's empowerment amid the transformations that have shaped the social and political fabrics of Arab societies.

This Handbook offers an analysis of the relation between football and politics, based on over 30 case studies covering five continents. It provides a detailed picture of this relation in a wide number of European, American, African, and Asian states, as well as a comparative assessment of football in a global perspective, thus combining the general and the local. It examines themes such as the political origins of football in the studied country, the historical club rivalries, the political aspects of football as a sports spectacle, and the contemporary issues linked to the political use of football. By following the same structure with each study, the volume allows for the comparison between largely investigated cases and cases that have seldom been addressed. The Handbook will be of use particularly to students and scholars in the fields of sport studies, political science and sociology, as well as cultural studies, anthropology and leisure studies.

This work addresses the cultural background of stewardship as a progression from individual personal aesthetics to a deeply informed environmental ethic that could become a national environmental policy. Howell begins by assessing our personal cultural background and our philosophical notions of our role in the natural world. She looks at the evolution of Western civilization and changing worldviews in relation to nature, examining especially early conceptions of a more appealing, simpler life closer to nature in contrast to the perceived civilized world that is portrayed as decadent. Howell examines archetypes from literature and the popular arts, finding examples in Jungian psychology and in contemporary film and television that support the Wild Man image and promote the Simple Life yearning. She then looks at the early 20th-century conservation and preservation writers as the most direct ancestors of today's environmental movement and an immediate source of inspiration.

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis - a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.

This book offers an exploration of the intersection of Korean theatre practice with Western literary theatre. Gangnam Style, K-Pop, the Korean Wave : who hasn't heard of these recent Korean phenomena? Having spent two years in Korea as a theatrical and cultural 'tourist', Patrice Pavis was granted an unparalleled look at contemporary Korean culture. As well as analyzing these pop culture mainstays, however, he also discovered many uniquely Korean jewels of contemporary art and performance. Examining topics including contemporary dance, puppets, installations, modernized pansori, 'Koreanized' productions of European Classics and K-pop and its parody, this book provides a framework for an intercultural and globalized approach to Korean theatre. With the first three chapters of the book outlining methodology, the remaining chapters test - often deconstructing and transforming in the process - this framework, using focused case studies to introduce the reader to the cultural and artistic world of a nation with an increasing international presence in theatre and the arts alike.

Dogs eat burritos, camels smoke cigarettes, and frogs drink beer. Welcome to the Century of the Consumer. In the 20th century, Americans were romanced by consumer culture, which in turn reflected the changing attitudes, priorities, and values of the country. This book compiles entries on 100 consumer products--ten per decade--that figured prominently in the rise of consumer culture in the United States, telling the story behind the century's most popular products, slogans, and symbols.

A unique format provides glimpses into American popular culture from each decade in the century. In addition to the history of advertising, economics, and the media, students will learn how perceptions of class, gender, and race were conveyed through advertising-and how those perceptions changed from 1900 to 2000. A-Z entries for each decade include bibliographic information on the product, as well as vivid illustrations showing the visual evolution of advertising icons and strategies throughout the century.

When Verschuur-Basse, a French sociologist specializing in the family, was invited by the Academy of Social Sciences to Beijing in 1985, she interviewed women from three generations and a variety of professions about their lives as women, wives, mothers, and daughters-in-law. Over a five-year period she conducted in-depth, non-directed interviews with educated women who were able to analyze and interpret their lives in the context of important formative factors such as the Cultural Revolution, the one-child policy, and other social reforms. The difference between urban and rural expectations from women is particularly apparent in the life stories of the 13 women included in this book. The women voice common concerns as wives and mothers who work outside the home and comment on the prevalence of abortion and preference for male children, the increase in divorce rates, and the place of women as decision-makers in the family. Originally published in French as "Paroles de Femmes Chinoises: La Famille Autrement" (Harmattan, 1993), the study received critical acclaim from academy and media as a revealing portrayal of social reality in China.