Announcing for Broadcasting and the Internet is the standard text for traditional broadcasters and emerging pioneers. While many still pursue careers in traditional fields such as television and radio news announcing, broadcast performance has expanded to Internet radio, podcasting, home voice-over production, and performance on YouTube and other Internet video venues. This text is an update of the classic text Announcing. The practical guide to mastering the techniques and mechanics of broadcast announcing remains, updated to give readers the ability to produce their own portfolio of performance products and get started in the career they want. It covers audio and video editing programs, new streaming media, and how to develop a powerful, consistent, and noteworthy speaking voice.

Colleges and universities increasingly recruit international students yet may lack the systems to foster these students' academic success and identity as valued members of the campus community. Sharing case studies of students and examples of innovative initiatives, this book explores strategies and key recommendations for universities to re-conceptualize their programs to better welcome and support international students. Emphasizing the relational aspect of academic and campus life, the authors provide a framework that supports students from initial contact through graduation. Carefully researched and addressing issues of language, engagement, and culture, Creating a Culturally Inclusive Campus offers universities innovative strategies for helping all students fulfull their academic goals while also contributing meaningfully to their school's global mission.

Writing and Reporting News You Can Use instructs students on how to produce news that is informative, interesting, educational, and most importantly, compelling. It addresses roadblocks to student interest in writing news, using illustrative examples and exercises to help them understand how to write news that is interesting and accurate. Trujillo's hands-on approach is based on real-world strategies that deal with audience and market characteristics. Students are writing from the very beginning while also getting the ethical and legal grounding necessary to understand the field. This textbook is a complete resource for students learning broadcast news, including how to get a job after leaving the classroom.

From commercial retail environments to branded urban villages, brands are now a salient feature of contemporary cityscapes and are deeply entwined in people's everyday lives. Drawing on extensive empirical material and recent theoretical developments in the sociology of brands, this book explores the complex relationship between brands, consumption and urban life. Covering a range of brands and branding in the city, from themed retail stores to branded cultural quarters, it considers how brands provide new ways of mediating identities, lifestyles and social relations. At the same time, the book reveals how brands are bound up with forms of socio-spatial division and exclusion in the city, defining what kinds of practices, images or attitudes are acceptable in a particular place, constituting cultural boundaries that keep certain people and activities out. With attention throughout to the social and cultural implications of the presence of brands in urban space, Brands and the City examines how people engage with brands, and how brands shape urbanites' experiences and sense of self, society and space. An extensive exploration of the processes through which brands are integrated into cities, their effects on everyday experiences and their role in the policing and governance of urban space, this book will appeal to scholars across the social sciences with interests in urban studies, consumption and branding.

This book explores the written and unwritten requirements Black journalists face in their efforts to get and keep jobs in television news. Informed by interviews with journalists themselves, Lewis examines how raced Black journalists and their journalism organizations process their circumstances and choose to respond to the corporate and institutional constraints they face. She uncovers the social construction and attempted control of "Blackness" in news production and its subversion by Black journalists negotiating issues of objectivity, authority, voice, and appearance along sites of multiple differences of race, gender, and sexuality.

This book focuses on the uses of scientific evidence within three types of environmental discourses: popular nonfiction books about the environment; traditional and social media texts created by a grassroots environmental group; and a set of data displays that make arguments about global warming in a variety of media and contexts. It traces the operations of eight commonplaces about science and shows how they recur throughout these contexts, starting with Rachel Carson's Silent Spring and ending with contemporary blogs and social media. The commonplaces are shown to embed ideological assumptions and simultaneously challenge those assumptions. In addition, the book addresses the potential dangers involved in relying too heavily on aspects of these commonplaces, and how they can undermine the goals of some of the writers who use them.

Building on the vast research conducted on war and media since the 1970s, scholars are now studying the digital transformation of the production of news. Little scholarly attention has been paid, however, to non-professional, eyewitness visuals, even though this genre holds a still greater bearing on the way conflicts are fought, communicated, and covered by the news media. This volume examines the power of new technologies for creating and disseminating images in relation to conflicts. Mortensen presents a theoretical framework and uses case studies to investigate the impact of non-professional images with regard to essential issues in today's media landscape: including new media technologies and democratic change, the political mobilization and censorship of images, the ethics of spectatorship, and the shifting role of the mainstream news media in the digital age.

Keywords in Remix Studies consists of twenty-four chapters authored by researchers who share interests in remix studies and remix culture throughout the arts and humanities. The essays reflect on the critical, historical and theoretical lineage of remix to the technological production that makes contemporary forms of communication and creativity possible. Remix enjoys international attention as it continues to become a paradigm of reference across many disciplines, due in part to its interdisciplinary nature as an unexpectedly fragmented approach and method useful in various fields to expand specific research interests. The focus on a specific keyword for each essay enables contributors to expose culture and society's inconclusive relation with the creative process, and questions assumptions about authorship, plagiarism and originality. Keywords in Remix Studies is a resource for scholars, including researchers, practitioners, lecturers and students, interested in some or all aspects of remix studies. It can be a reference manual and introductory resource, as well as a teaching tool across the humanities and social sciences.

Throughout the twentieth and early twenty-first centuries, cinema has been adopted as a popular cultural institution in Bangladesh. At the same time, this has been the period for the articulation of modern nationhood and cultural identity of Bengali Muslims in Bangladesh. This book analyses the relationship between cinema and modernity in Bangladesh, providing a narrative of the uneven process that produced the idea of "Bangladesh cinema." This book investigates the roles of a non-Western "national" film industry in Asia in constructing nationhood and identity within colonial and postcolonial predicaments. Drawing on the idea of cinema as public sphere and the postcolonial notion of formation of the "Bangladesh" nation, interactions between cinema and middle-class Bengali Muslims in different social and political matrices are analyzed. The author explores how the conflict among different social groups turned Bangladesh cinema into a site of contesting identities. In particular, he illustrates the connections between film production and reception in Bangladesh and a variety of nationalist constructions of Bengali Muslim identity. Questioning and debunking the usual notions of "Bangladesh" and "cinema," this book positions the cinema of Bangladesh within a transnational frame. Starting with how to locate the "beginning" of the second Bengali language cinema in colonial Bengal, the author completes the investigation by identifying a global Bangladeshi cinema in the early twenty-first century. The first major academic study on this large and vibrant national cinema, this book demonstrates that Bangladesh cinema worked as different "public spheres" for different "publics" throughout the twentieth century and beyond. Filling a niche in Global Film and Media Studies and South Asian Studies, it will be of interest to scholars and students of these disciplines.

This book re-examines the role of the sublime across a range of disparate cultural texts, from architecture and art, to literature, digital technology, and film, detailing a worrying trend towards nostalgia and arguing that, although the sublime has the potential to be the most powerful uniting aesthetic force, it currently spreads fear, violence, and retrospection. In exploring contemporary culture, this book touches on the role of architecture to provoke feelings of sublimity, the role of art in the aftermath of destructive events, literature's establishment of the historical moment as a point of sublime transformation and change, and the place of nostalgia and the returning of past practices in digital culture from gaming to popular cinema.

Current western feminism and psychology have a particularly close relationship, with feminism finding an increasingly important voice in psychology. In this clear introductory text, originally published in 1989, Corinne Squire examines what feminism and psychology mean to each other, concentrating on the different ways in which feminism is articulated in psychology. Each of the feminist 'movements' within psychology is explored, with clear and critical explanations of the ways in which they differ significantly from conventional psychology. Squire looks at the dominant, egalitarian form of feminist psychology, which tries to work within traditional psychology, and at the woman-centred feminist psychology, which has developed largely outside the conventional discipline, and analyses the limitations and advantages of these approaches. She goes on to look at more complex feminist attempts to deal with psychological concerns, and identifies feminist initiatives, throughout psychology and outside it, which manage to address psychological issues but refuse to respect the boundaries of mainstream psychology, forming instead helpful associations with other forms of knowledge in order to change the nature of psychological discourse.

Skinheads go beyond the societal stereotype of hate mongers, bigots, and Neo-Nazis. The community of skins also includes traditional skins (those that adhere to the original philosophy of the British movement in 1969), Skinheads Against Racial prejudice (SHARPS), and gay skins, female skins and Neo-Nazi or Racist/Nationalist skins. Skinhead History, Identity, and Culture covers the history, identity, and culture of the skinhead movement in Europe and America, looking at the total culture of the skins through a cross-sectional analysis of skinheads in various countries. Authors Borgeson and Valeri provide original research data to cast new light into the skinhead community. Some of the data is ethnographic, drawing on face-to-face interviews with skins of all kinds, while other data is compiled from the Internet and social media about various skinhead groups within the United States, Europe, and Australia. The book covers the history of the subculture; explores the unique cultures of female, gay, and Neo-Nazi skins; and explores manifestations of the culture as represented on the Internet and in music. The work discusses how skinheads derive their values and morals and how they fit into the larger social structure.

remixthecontext is a cunning and satirical collection of "theoretical fictions" composed by artist, novelist and media theorist Mark Amerika. A compelling riff on the classic Platonic dialogue, Amerika's remixthecontext features Walt Whitman Benjamin, a Professor of Creative Urgency who intellectually jams with an assemblage of characters that resemble the actual artists, poets, and scholars who populate the university cafe culture depicted in the book. Each chapter is enlivened by Amerika's provocative mash-up of literary metafiction, new media rhetoric and witty repartee setting the stage for a series of freewheeling exchanges that playfully investigate a multitude of themes including remix culture, psychic automatism, gender fluidity, social media dystopia, MOOCs as performance art, and the challenges presented by cutting-edge digital arts and humanities curricula within a sclerotic academic environment.

This book explores the lived experience of cultural entrepreneurship examining the challenges associated with cultural labour including the insecurities of managing precarious working conditions. Drawing on interviews conducted with cultural workers, Cultural Entrepreneurship focuses on how individuals articulate their experience of entrepreneurship in the cultural and creative industries. Noting the importance of place, the local cultural milieu is examined as a means of situating entrepreneurial practices through cultural and enterprise policies, local networks, and significant relationships. Within this framework, the cultural entrepreneurs' stories reveal means of subverting or re-interpreting identities and the possibility for 'rethinking cultural entrepreneurship.' Aimed at researchers, academics and students investigating cultural entrepreneurship, cultural policy and cultural labour, Cultural Entrepreneurship will additionally be of value to creative industry consultants, cultural policymakers, and those setting up creative enterprises. Researchers from fields such as geography, investigating different aspects of the cultural industries in relation to cultural policy and place, will also find this book to be a useful contribution.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

The media have long played an important role in the modern political process and the 2016 presidential campaign was no different. From Trump's tweets and cable-show-call-ins to Sander's social media machine to Clinton's "Trump Yourself" app and podcast, journalism, social and digital media, and entertainment media were front-and-center in 2016. Clearly, political media played a dominant and disruptive role in our democratic process. This book helps to explain the role of these media and communication outlets in the 2016 presidential election. This thorough study of how political communication evolved in 2016 examines the disruptive role communication technology played in the 2016 presidential primary campaign and general election and how voters sought and received political information. The Presidency and Social Media includes top scholars from leading research institutions using various research methodologies to generate new understandings-both theoretical and practical-for students, researchers, journalists, and practitioners.

This book is a study of the resurgence and re-imagination of feminist discourse on gender and sexuality in South Asia as told through its cinematic, literary, and social media narratives. It brings incisive and expert analyses of emerging disruptive articulations that represent an unprecedented surge of feminist response to the culture of sexual violence in South Asia. Here scholars across disciplines and international borders chronicle the expressions of a disruptive feminist solidarity in contemporary South Asia. They offer critical investigations of these newly complicated discourses across narrative forms - hashtag activism on Facebook and Twitter, the writings of diasporic writers such as Jhumpa Lahiri, Bollywood films like Mardaani, feminist Dalit narratives in the fiction of Bama Faustina, social media activism against rape culture, journalistic and cinematic articulations on queer rights, state censorship of "India's Daughter", and feminist film activism in Bangladesh, Kashmir, Nepal, and Sri Lanka.

This book traces the uneven history of queer media visibility through crucial turning points including the Hollywood Production Code era, the AIDS crisis of the 1980s, the so-called explosion of gay visibility on television during the1990s, and the re-imagination of queer representations on TV after the events of 9/11. Kohnen intervenes in previous academic and popular accounts that paint the increase in queer visibility over the past four decades as a largely progressive development. She examines how and why a limited and limiting concept of queer visibility structured around white gay and lesbian characters in committed relationships has become the embodiment of progressive LGBT media representations. She also investigates queer visibility across film, TV, and print media, and highlights previously unexplored connections, such as the lingering traces of classical Hollywood cinema's queer tropes in the X-Men franchise. Across all chapters, narratives and arguments emerge that demonstrate how queer visibility shapes and reflects not only media representations, but the real and imagined geographies, histories, and people of the American nation.

This book aims to revisit the notion of subculture for the 21st century, reinterpreting it and extending its scope. On the one hand, the notion of resistance is redefined and applied to contemporary practices of cultural production and entrepreneurship. On the other hand, contributors reconsider the connection of subcultures to everyday culture, exploring more mainstream forms of cultural production and consumption across a wider range of social groups. As a consequence, this book extends the scope to look beyond the white, male, adolescent, urban cultures identified with earlier subcultural studies. Contributors also examine fusions and crossovers between Western and non-Western cultural practices.

This book explores how the traditional ideal of Chinese manhood - the "wen" (cultural attainment) and "wu" (martial prowess) dyad - has been transformed by the increasing integration of China in the international scene. It discusses how increased travel and contact between China and the West are having a profound impact; showing how increased interchange with Western men, for whom "wu" is a more significant ideal, has shifted the balance in the classic Chinese dichotomy; and how the huge emphasis on wealth creation in contemporary China has changed the notion of "wen" itself to include business management skills and monetary power. The book also considers the implications of Chinese "soft power" outside China for the reconfigurations in masculinity ideals in the global setting. The rising significance of Chinese culture enables Chinese cultural norms, including ideals of manhood, to be increasingly integrated in the international sphere and to become hybridised. The book also examines the impact of the Japanese and Korean waves on popular conceptions of desirable manhood in China. Overall, it demonstrates that social constructions of Chinese masculinity have changed more fundamentally and become more global in the last three decades than any other time in the last three thousand years.

Video art emerged as an art form that from the 1960s and onwards challenged the concept of art - hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures - manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art history's most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices. By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.

As China is increasingly integrated into the processes of economic, political, social, and cultural globalization, important questions arise about how Chinese people perceive and evaluate such processes. At the same time, international communication scholars have long been interested in how local, national, and transnational media communications shape people's attitudes and values. Combining these two concerns, this book examines a range of questions pertinent to public opinion toward globalization in urban China: To what degree are the urban residents in China exposed to the influences from the outside world? How many transnational social connections does a typical urban Chinese citizen have? How often do they consume foreign media? To what extent are they aware of the notion of globalization, and what do they think about it? Do they believe that globalization is beneficial to China, to the city where they live, and to them personally? How do people's social connections and communication activities shape their views toward globalization and the outside world? This book tackles these and other questions systematically by analyzing a four-city comparative survey of urban Chinese residents, demonstrating the complexities of public opinion in China. Media consumption does relate, though by no means straightforwardly, to people's attitudes and beliefs, and this book provides much needed information and insights about Chinese public opinion on globalization. It also develops fresh conceptual and empirical insights on issues such as public opinion toward US-China relations, Chinese people's nationalistic sentiments, and approaches to analyze attitudes toward globalization.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes, and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy. In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal's self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies.

The concept of the cultural commons has become increasingly important for legal studies. Within this field, however, it is a contested concept: at once presented as a sphere for creativity, democratic access and freedom of speech, but one that denies property rights and misappropriates the public domain. In this book, Merima Bruncevic takes up the cultural commons not merely as an abstract notion, but in its connection to physical spaces such as museums and libraries. A legal cultural commons can, she argues, be envisioned as a lawscape that can quite literally be entered and engaged with. Focusing largely on art in the context of the copyright regime, but also addressing a number of cultural heritage issues, the book draws on the work of Deleuze and Guattari in order to examine the realm of the commons as a potential space for overcoming the dichotomy between the owner and the consumer of culture. Challenging this dichotomy, it is the productive and creative potential of law itself that is elicited through the book's approach to the commons as the empirical basis for a new legal framework, which is able to accommodate a multitude of interests and values.

This book brings together scholars from a variety of disciplines to address critical perspectives on Chinese language social media, internationalizing the state of social media studies beyond the Anglophone paradigm. The collection focuses on the intersections between Chinese language social media and disability, celebrity, sexuality, interpersonal communication, charity, diaspora, public health, political activism and non-governmental organisations (NGOs). The book is not only rich in its theoretical perspectives but also in its methodologies. Contributors use both qualitative and quantitative methods to study Chinese social media and its social-cultural-political implications, such as case studies, in-depth interviews, participatory observations, discourse analysis, content analysis and data mining.