This book presents new interdisciplinary and intersectional research about women as mothers, highlighting that alternative accounts of mothering can challenge normative societal assumptions and broaden understandings of women as mothers, mothering and motherhoods. Mothering occurs within unequal power relations associated with the disadvantages and privileges of an unjust and patriarchal society. Social inequalities associated with gender, race, class, age, ability, sexuality, violence and nationalism intersect in the lives of women as mothers, to shape their lived experiences and perspectives on mothering. Showcasing the breadth and depth of feminist research on mothering, this book gives attention to the diversity of ways in which mothering is constructed and responded to as well as how mothering is experienced. Drawing on intersectional feminist thought, the book challenges normative visions of 'good mothering' and interrogates constructs of 'bad mothering'. It brings together insights from multidisciplinary scholars who use feminist approaches in their research on mothering, to inform policy development and practice when working with women as mothers in diverse circumstances. Intersections of Mothering highlights the complexities of mothering in a contemporary world, show the benefits of considering mothering through an intersectional feminist lens, make visible lived experiences of mothers and provides challenges to dominant imaginings of and service responses to women as mothers. Intersections of Mothering will be essential reading for interdisciplinary scholars and students in criminology, gender and women's studies, motherhood studies, social welfare, social work, social policy and public health policy, in addition to practitioners and policy workers that respond to women as mothers.

This book presents an introductory overview of the socio-economic organization of creative industries, focusing on the East Asian context. Establishing a theoretical framework founded on the work of Richard Caves, Howard Becker, and Pierre Bourdieu, this textbook is an accessible introduction to creative and cultural industries. Drawing on examples from Japan, South Korea, and China, it both examines what is unique about cultural production in these countries and places them in a global and intercultural context. Building on themes of uncertainty and networks of cooperation, Brian Moeran looks at the role of social ties in defining notions of quality. He then analyses the positioning of individual actors, organisations, and commodities in each field of cultural production and the exchanges of economic and symbolic capital that take place between them. Examples are taken from a range of cultural and creative industries, including film, music and fashion. Overall, Creative and Cultural Industries in East Asia serves as a foundational introduction to the study of creative and cultural production in East Asia.

This book presents an introductory overview of the socio-economic organization of creative industries, focusing on the East Asian context. Establishing a theoretical framework founded on the work of Richard Caves, Howard Becker, and Pierre Bourdieu, this textbook is an accessible introduction to creative and cultural industries. Drawing on examples from Japan, South Korea, and China, it both examines what is unique about cultural production in these countries and places them in a global and intercultural context. Building on themes of uncertainty and networks of cooperation, Brian Moeran looks at the role of social ties in defining notions of quality. He then analyses the positioning of individual actors, organisations, and commodities in each field of cultural production and the exchanges of economic and symbolic capital that take place between them. Examples are taken from a range of cultural and creative industries, including film, music and fashion. Overall, Creative and Cultural Industries in East Asia serves as a foundational introduction to the study of creative and cultural production in East Asia.

This book nuances our understanding of the contemporary creative economy by engaging with a set of three key tensions which emerged over the course of eight European Colloquiums on Culture, Creativity and Economy (CCE): 1) the tension between individual and collaborative creative practices, 2) the tension between tradition and innovation, and 3) the tension between isolated and interconnected spaces of creativity. Rather than focusing on specific processes, such as production, industries or locations, the tensions acknowledge and engage with the messy and restless nature of the creative economy. Individual chapters offer insights into poorly understood practices, locations and contexts such as co-working spaces in Berlin and rural Spain, creative businesses in Leicester and the role and importance of cultural intermediaries in creative economies within Africa. Others examine the nature of trans-local cultural flows, the evolving "field" of fashion, and the implications of social media and crowdfunding platforms. This book will be of interest to students, scholars and professionals researching the creative economy, as well as specific cultural and creative industries, across the humanities and social sciences.

This book makes the case for unproduction studies, the study of films left unmade, unseen, or unreleased, as a radical discipline with the potential to uncover a shadow history of the American film industry. Exploring the archival methods that can be utilised in this endeavour, James Fenwick argues that a revisionist history is needed to understand the logic of the film industry, finding that it has long-been predicated on a system of unmade creativity in which finances, resources, and labour is invested into projects that production companies know will never be produced or have no intention of ever producing. Using the Production Code Administration (PCA) records, housed at the Margaret Herrick Library, as a case study, the book explores the material existence of the unmade and considers how archives and archival methods can be used to construct a shadow history that recovers the forgotten, marginalised, and overlooked figures in film history, providing explanations for structural forces that contributed to the unmade. Given its unique use of the unmade as an analytic for film history, this book will be an essential read for scholars interested in film and media history, performance studies, film production, and creative practice, as well as to archivists and archival researchers.

This book takes a Marxist approach to the study of media piracy - the production, distribution, and consumption of media texts in violation of intellectual property laws - to examine its place as an endemic feature of the cultural economy since the rise of the Internet. The author explores media piracy not in terms of its moral or legal failings, or as the inevitable by-product of digital technologies, but as a symptom of a much larger restructuring of cultural labor in the era of the Internet: labor that is digital, entrepreneurial, informal, and even illegal, and increasingly politicized. Sketching the contours of this new political economy while engaging with theories of digital media, both critical and celebratory, Mueller reveals piracy as a submerged social history of the digital world, and potentially the key to its political reimagining. This significant contribution to the study of piracy and digital culture will be vital reading for scholars and students of critical media studies, cultural studies, political theory, or digital humanities, and particularly those researching media piracy, digital labor, the digital economy, and Marxist theory.

This book looks at the rich and complex history of broadcasting and community broadcasting in the multicultural and multilingual milieu in India. It explores the world of community radio and how community radio broadcasters hear and speak to their audiences under the overarching theme of polyphony. The book discusses the socio-historical contexts which allowed community radio to thrive in India. It highlights its potential to create alternative spaces of representation, and opportunity and its importance in preserving and disseminating local knowledge and traditions. The author weaves together ethnographic research and literature, as well as personal narratives and stories of those involved in the field. Further, the monograph critically examines the impact of development agendas on community projects and processes, discussing in detail the pervasiveness of the development discourse in every aspect of community radio and how it manifests on air. It also illustrates the limitations of community radio, within the context of its participation in the "spectacle of development". Accessible and deeply insightful, this book will be of interest to researchers and students of cultural studies, sociology, social anthropology, media and communication studies, and South Asian studies.

This edited collection addresses climate change journalism from the perspective of temporality, showcasing how various time scales-from geology, meteorology, politics, journalism, and lived cultures-interact with journalism around the world. Analyzing the meetings of and schisms between various temporalities as they emerge from reporting on climate change globally, Climate Change and Journalism: Negotiating Rifts of Time asks how climate change as a temporal process gets inscribed within the temporalities of journalism. The overarching question of climate change journalism and its relationship to temporality is considered through the themes of environmental justice and slow violence, editorial interventions, ecological loss, and political and religious contexts, which are in turn explored through a selection of case studies from the US, France, Thailand, Brazil, Australia, Spain, Mexico, Canada, and the UK. This is an insightful resource for students and scholars in the fields of journalism, media studies, environmental communication, and communications generally.

This collection brings together ten of the most distinguished feminist scholars whose work has been celebrated for its excellence in helping to lay the foundation of feminist communication and media research. This edited volume features contributions by the first ten renowned communication and media scholars that have received the Teresa Award for the Advancement of Feminist Scholarship from the Feminist Scholarship Division (FSD) of the International Communication Association (ICA): Patrice M. Buzzanell, Meenakshi Gigi Durham, Radha Sarma Hegde, Dafna Lemish, Radhika Parameswaran, Lana F. Rakow, Karen Ross, H. Leslie Steeves, Linda Steiner, and Angharad N. Valdivia. These distinguished scholars reflect on the contributions they have made to different subfields of media and communication scholarship, and offer invaluable insight into their own paths as feminist scholars. They each reflect on matters of power, agency, privilege, ethics, intersectionality, resilience, and positionality, address their own shortcomings and struggles, and look ahead to potential future directions in the field. Last but not least, they come together to discuss the impact of the COVID-19 pandemic on women, marginalized people, and vulnerable populations, and to underline the crucial need for feminist communication and media scholarship to move beyond Eurocentrism toward an ethics of care and global feminist positionality. A comprehensive and inspiring resource for students and scholars of feminist media and communication studies.

* Employs literature from a variety of fields, foregrounding evidence from the global south to argue the empowerment potential of community radio and expose many barriers to radio participation - not least the inadequacies of their education, the perceived masculinity of technology; intersections of racism, class, disableism, accentism; and the impact of gendered violence on their self-esteem * Centres on the global, hegemonic challenge of empowering women; relevant across disciplines and professions, and challenges mainstream broadcasters to pull down elitist barriers, reach out to community media and invest in developing the immense skills and talents of ordinary women * Suitable for academics and students in media, psychology, mental health, education, community development, youth work, social work, sociology, gender studies, and urban geography. The focus on empowering woman is also relevant across professions.

* Employs literature from a variety of fields, foregrounding evidence from the global south to argue the empowerment potential of community radio and expose many barriers to radio participation - not least the inadequacies of their education, the perceived masculinity of technology; intersections of racism, class, disableism, accentism; and the impact of gendered violence on their self-esteem * Centres on the global, hegemonic challenge of empowering women; relevant across disciplines and professions, and challenges mainstream broadcasters to pull down elitist barriers, reach out to community media and invest in developing the immense skills and talents of ordinary women * Suitable for academics and students in media, psychology, mental health, education, community development, youth work, social work, sociology, gender studies, and urban geography. The focus on empowering woman is also relevant across professions.

Showing how Americans have massively turned to a self-help empowerment model to manage chronic feelings of insecurity, Anxiety in Middle-Class America explains why no group has ever been as anxious about anxiety and interested in tackling it as a moral and personal problem. Anxiety is the focus of increasing preoccupation and intervention in middle-class America and the late modern world. It is reportedly the most common mental illness in the United States, affecting almost a quarter of its adult population every year. Views diverge on what this means. This work is for readers who are intrigued by the exponential rise in reported rates of anxiety across the lifespan and by all the talk about anxiety, dissatisfied with non-sociological and symptom-based accounts of mental health, and open-minded enough to consider the self-help phenomenon as more than an oppressive craze driven by capitalist industry, neoliberal ideology, complicit publishers, formulaic writers, and irreflexive consumers. In providing a sociologically informed account of some of the most widespread emotional troubles of late modern life and the unique historical pressures that promote them, this work will be of interest to researchers in a broad range of fields, from sociology, anthropology, and mind/body/society studies, to cultural history, communications, and social philosophy. It will also interest mental health professionals and cultural critics.

Teaching Diversity and Inclusion: Examples from a French-Speaking Classroom explores new and pioneering strategies for transforming current teaching practices into equitable, inclusive and immersive classrooms for all students. This cutting-edge volume dares to ask new questions, and shares innovative, concrete tools useful to a wide variety of classrooms and institutional contexts, far beyond any disciplinary borders. This book aims to instill classroom approaches which allow every student to feel safe to share their truth and to reflect deeply about their own identity and challenges, discussing course design, assignments, technologies, activities, and strategies that target diversity and inclusion in the French classroom. Each chapter shares why and how to design an inclusive community of learners, including opportunities to promote interdisciplinary approaches and cross-disciplinary collaborations, exploring cultures and underrepresented perspectives, and distinguishing unconscious biases. The essays also provide theoretical and practical strategies adaptable to any reflective teacher desiring to create a welcoming, inclusive classroom that draws in students they might not otherwise attract. This long overdue work will be ideal for both undergraduate and graduate students and administrators seeking fresh approaches to diversity in the classroom.

This volume brings together new studies and interdisciplinary research on the changing mediascapes in South Asia. Focusing on India, Pakistan, and Bangladesh, it explores the transformations in the sphere of cinema, television, performing arts, visual cultures, cyber space and digital media, beyond the traumas of the partitions of 1947 and 1971. Through wide-ranging essays on soft power, performance, film, and television; art and visual culture; and cyber space, social media, and digital texts, the book bridges the gap in the study of the postcolonial and post-Partition developments to reimagine South Asia through a critical understanding of popular culture and media. The volume includes scholars and practitioners from the subcontinent to foster dialogue across the borders, and presents diverse and in-depth studies on film, media and representation in the region. This book will be useful to scholars and researchers of media and film studies, postcolonial studies, visual cultures, political studies, partition history, cultural studies, mass media, popular culture, history, sociology and South Asian studies, as well as to media practitioners, journalists, writers, and activists.

The Anthropocene concept draws attention to the various forms of entanglement of social, political, ecological, biological and geological processes at multiple spatial and temporal scales. The ensuing complexity and ambiguity create manifold challenges to widely established theories, methodologies, epistemologies and ontologies. The contributions to this volume engage with conceptual issues of scale in the Anthropocene with a focus on mediated representation and narrative. They are centered around the themes of scale and time, scale and the nonhuman and scale and space. The volume presents an interdisciplinary dialogue between sociology, geography, political sciences, history and literary, cultural and media studies. Together, they contribute to current debates on the (re-)imagining of forms of human responsibility that meet the challenges created by humanity entering an age of scalar complexity. Chapter 3 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com/books/e/9781003136989

Mocking Eugenics explores the opposition to eugenic discourse mounted by twentieth-century American artists seeking to challenge and destabilize what they viewed as a dangerous body of thought. Focusing on their wielding of humor to attack the contemporaneous science of heredity and the totalitarian impulse informing it, this book confronts the conflict between eugenic theories presented as grounded in scientific and metaphysical truth and the satirical treatment of eugenics as not only absurdly illogical but also antithetical to democratic ideals and inimical to humanistic values. Through analyses of the films of Charlie Chaplin and the fiction of F. Scott Fitzgerald, Ernest Hemingway, Anita Loos, and Wallace Thurman, Mocking Eugenics examines their use of laughter to dismantle the rhetoric of perfectionism, white supremacy, and nativism that shaped mainstream expressions of American patriotism and normative white masculinity. As such, it will appeal to scholars of cultural studies, literature, cinema, sociology, humor, and American studies.

In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this 'turn to cultural work' has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work-life boundaries leading to 'self-exploitation'. While academic critics have persuasively challenged more optimistic accounts of 'converged' worlds of creative production, the critical debate on cultural work has itself leant heavily towards suggesting a profoundly new confluence of forces and effects. Theorizing Cultural Work instead views cultural work through a specifically historicized and temporal lens, to ask: what novelty can we actually attach to current conditions, and precisely what relation does cultural work have to social precedent? The contributors to this volume also explore current transformations and future(s) of work within the cultural and creative industries as they move into an uncertain future. This book challenges more affirmative and proselytising industry and academic perspectives, and the pervasive cult of novelty that surrounds them, to locate cultural work as an historically and geographically situated process. It will be of interest to students and scholars of sociology, cultural studies, human geography, urban studies and industrial relations, as well as management and business studies, cultural and economic policy and development, government and planning.

The increasing significance of managing or changing habits is evident across a range of pressing contemporary issues: climate change, waste management, travel practices, and crowd control. Assembling and Governing Habits engages with the diverse ways in which habits are governed through the knowledge practices and technologies that have been brought to bear on them. The volume addresses three main concerns. The first focuses on how the habit discourses proposed by a range of disciplines have informed the ways in which different forms of expertise have shaped the ways in which habits have been managed or changed to bring about specific social objectives. The second concerns the ways in which habits are acted on as aspects of infrastructures which constitute the interfaces through which technical systems, human conducts and environments are acted on simultaneously. The third concerns the specific ways in which habit discourses and habit infrastructures are brought together in the regulation of 'city habits': that is, habits which have specific qualities arising out of the specific conditions - the rhythms and densities - of urban life and ones which, in the wake of the COVID-19 pandemic, have been profoundly disrupted. Written in a clear and direct style, the book will appeal to students and scholars with an interest in cultural studies, sociology, cultural geography, history of the sciences, and posthuman studies.

This practical text offers a research-based account of the technical communication profession and its practice, outlining emergent touchpoints of this fast-changing field while highlighting its diversity. Through research on the history and the globalization of technical communication and up-to-date industry analysis, including first-hand narratives from industry practitioners, this book brings together common threads through the industry, suggests future trends, and points toward strategic routes for development. Vignettes from the workplace and examples of industry practice provide tangible insights into the different paths and realities of the field, furnishing readers with a range of entry routes and potential career sectors, workplace communities, daily activities, and futures. This approach is central to helping readers understand the diverse competencies of technical communicators in the modern, globalized economy. The Profession and Practice of Technical Communication provides essential guidance for students, early professionals, and lateral entrants to the profession and can be used as a textbook for technical communication courses.

In Mythic Imagination and the Actor, Marissa Chibas draws on over three decades of experience as a Latinx actor, writer, filmmaker, and teacher to offer an approach to acting that embraces collective imagination, archetypal work, and the mythic. The book begins with a comparative analysis between method acting and mythic acting, encouraging actors to push past the limits of singular life experience and move to a realm where imagination and metaphor thrive. In the context of mythic acting, the book explores awareness work, solo performance creation, the power of archetypes, character building exercises, creating a body/text connection, and how to be the detective of your own process. Through this inclusive guide for a new age of diverse performers traversing gender, ability, culture, and race, readers are able to move beyond their limits to a deep engagement with the infinite possibilities of rich imagination. The final chapter empowers and motivates artists to live healthfully within the practice and create a personal artistic vision plan. Written for actors and students of acting, American Drama, and film and theatre studies, Mythic Imagination and the Actor provides practical exercises and prompts to unlock and interpret an actor's deepest creative sources.

The texts presented in Proportion Harmonies and Identities (PHI) Tradition and Innovation were compiled with the intent to establish a multidisciplinary platform for the presentation, interaction, and dissemination of researches. They also aim to foster the awareness and discussion on the topic of Tradition and Innovation, focusing on different visions relevant to Architecture, Arts and Humanities, Design and Social Sciences, and its importance and benefits for the sense of identity, both individual and communal. The idea of Tradition and Innovation has been a significant motor for development since the Western Early Modern Age. Its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts.

Infertility Comics and Graphic Medicine examines women's graphic memoirs on infertility, foregrounding the complex interrelationship between women's life writing, infertility studies, and graphic medicine. Through a scholarly examination of the artists' use of visual-verbal codes of the comics medium in narrating their physical ordeals and affective challenges occasioned by infertility, the book seeks to foreground the intricacies of gender identity, embodiment, subjectivity, and illness experience. Providing long-overdue scholarly attention on the perspectives of autobiographical and comics studies, the authors examine the gendered nature of the infertility experience and the notion of motherhood as an ideological force which interpolates socio-cultural discourses, accentuating the potential of graphic medicine as a creative space for the infertile women to voice their hitherto silenced perspectives on childlessness with force and urgency. This interdisciplinary volume will be of interest to scholars and students in comics studies, the health humanities, literature, and women's and gender studies, and will also be suitable for readers in visual studies and narrative medicine.

Science fiction, as a literature of fantasy, goes beyond the mundane to ask the question: what if the world were different from the way it is? It often challenges the real, builds on imagination, places no limits on human capacities, and encourages readers to think outside their social and cultural conditioning. This book presents a systematic study of Indian women's science fiction. It offers a critical analysis of the works of four female Indian writers of science fiction: Rokeya Sakhawat Hossain, Manjula Padmanabhan, Priya Sarukkai Chabria and Vandana Singh. The author considers not only the evolution of science fiction writing in India, but also discusses the use of innovations and unique themes including science fiction in different Indian languages; the literary, political, and educational activism of the women writers; and eco-feminism and the idea of cloning in writing, to argue that this genre could be viewed as a vibrant representation of freedom of expression and radical literature. This ground-breaking volume will be useful for scholars and researchers of English literature. It will also prove a very useful source for further studies into Indian literature, science and technology studies, women's and gender studies, comparative literature and cultural studies.

* Provides a new approach to cinematic storytelling in a comprehensive manner by foregrounding the techniques that can be used in the script to screen process. * This book fills a gap by taking a unique approach to visual storytelling, considering context-creation at all steps of the process for aspiring filmmakers, cinematographers and directors at undergraduate level within filmmaking courses. * Prioritizes illustrating the creative process of taking the story from script to screen in a practical and comprehensive way, placing storytelling at the forefront of the filmmaking process and ensuring camera-usage decisions are made in a way the best serves the story being told.

This edited volume draws upon Lacanian psychoanalytic theory to examine the conscious and unconscious forces underlying race as a social formation, conceptualizing race, racial identity, and racism in ways that go beyond traditional modes of psychoanalytic thought. Featuring contributions by Lacanian scholars from diverse geographical and disciplinary contexts, chapters span a wide breadth of topics, including white nationalism and contemporary debates over confederate monuments; emergent theories of race rooted in Afropessimism and postcolonialism; analyses of racism in apartheid and American slavery; clinical reflections on Latinx and other racialized patients; and applications of Lacan's concepts of the lamella, drive and sexuation to processes of racialization. The collection both reorients readers' understandings of race through its deployment of Lacanian theory and redefines the Lacanian subject through its theorizing of subjectivity in relation to race, racism and racial identification. Lacan and Race will be a definitive text for psychoanalytic theorists and contemporary scholars of race, appealing to readers across the fields of psychology, cultural studies, humanities, politics, and sociology.