On March 15, 2011, Donald Trump changed television forever. The Comedy Central Roast of Trump was the first major live broadcast to place a hashtag in the corner of the screen to encourage real-time reactions on Twitter, generating more than 25,000 tweets and making the broadcast the most-watched Roast in Comedy Central history. The #trumproast initiative personified the media and tech industries' utopian vision for a multiscreen and communal live TV experience. In Social TV: Multiscreen Content and Ephemeral Culture, author Cory Barker reveals how the US television industry promised-but failed to deliver-a social media revolution in the 2010s to combat the imminent threat of on-demand streaming video. Barker examines the rise and fall of Social TV across press coverage, corporate documents, and an array of digital ephemera. He demonstrates that, despite the talk of disruption, the movement merely aimed to exploit social media to reinforce the value of live TV in the modern attention economy. Case studies from broadcast networks to tech start-ups uncover a persistent focus on community that aimed to monetize consumer behavior in a transitionary industry period. To trace these unfulfilled promises and flopped ideas, Barker draws upon a unique mix of personal Social TV experiences and curated archives of material that were intentionally marginalized amid pivots to the next big thing. Yet in placing this now-forgotten material in recent historical context, Social TV shows how the era altered how the industry pursues audiences. Multiscreen campaigns have shifted away from a focus on live TV and toward all-day "content" streams. The legacy of Social TV, then, is the further embedding of media and promotional material onto every screen and into every moment of life.

In The Costs of Justice, Brian K. Grodsky provides qualitative analyses of how transitional justice processes have evolved in diverse ways in postcommunist Poland, Croatia, Serbia, and Uzbekistan, by examining the decision-making processes and goals of those actors who contributed to key transitional justice policy decisions. Grodsky draws on extensive interviews with key political figures, human rights leaders, and representatives of various international, state, and nongovernmental bodies, as well as detailed analysis of international and local news reports, to offer a systematic and qualitatively compelling account of transitional justice from the perspective of activists who, at the end of a previous regime, were suddenly transformed from downtrodden victim to empowered judge. Grodsky challenges the argument that transitional justice in post-repressive states is largely a function of the relative power of new versus old elites. He maintains that a new regime's transitional justice policy is closely linked to its capacity to provide goods and services expected by constituents, not to political power struggles. In introducing this goods variable, so common to broad political analysis but largely overlooked in the transitional justice debate, Grodsky argues that we must revise our understanding of transitional justice. It is not an exceptional issue; it is but one of many political decisions faced by leaders in a transition state.

For 200 years, industry mastered iron, fire, strength and energy. Today, electronics shape our everyday objects, integrating chips everywhere: computers, phones, keys, games, household appliances, etc. Data, software and calculation frame the conduct of men and the administration of things. Everything is translated into data: the figure is king. This third and last volume of the series examines the creative destruction induced by digital, modifying manners and customs, law, society and politics.

In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful. Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genee and Bessie Clayton's "photographic" danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.

Sustainable development is a long-term solution to how we plan our indefinite progress in the future. The concept covers a broad scope of environmental, social, and economic development, which continues to prove its importance in our lives as it affects all aspects of them. Innovative Economic, Social, and Environmental Practices for Progressing Future Sustainability explores the current practice and implementation of economic, social, and environmental sustainable development. This book offers a reference for a wide number of stakeholders interested in the importance of economic, social and environmental development in sustainable development. New contributions, especially theoretical, practical and managerial, will be discussed in this book. This book is a reference for a wide number of stakeholders interested in the area of sustainable development, especially in the area of economic, social, and environment. This text is an international platform to bring together academics, researchers, lecturers, decision-makers, policymakers, and practitioners to share new theories, research findings, and case studies.

This high-quality collectible replica of Harry Potter's Hogwarts trunk from the Harry Potter films includes a keepsake box, wand pen, interactive journal, enamel pin, Marauder's Map and more! A perfect gift for fans of the Wizarding World. Kit includes: * SPECIFICATIONS: This deluxe collectible includes a replica of Harry Potter's Hogwarts trunk measuring 12 inches long by 6-3/4 inches wide by 3-3/4 inches high, complete with a journal, Harry's wand-pen, a chocolate frog enamel pin, replicas of Harry Potter's Hogwarts acceptance letter, train ticket on the Hogwarts Express, Marauder's map, and ticket to a Quidditch match * AUTHENTIC REPLICA: This trunk is a molded replica of Harry Potter's trunk used for the Hogwarts School of Witchcraft and Wizardry * KEEPSAKE TRUNK: Full-color printed box modeled on the trunk seen in the Harry Potter films featuring two metal closing locks and handle, to transport anywhere * JOURNAL INCLUDED: Record your magical thoughts in this Hogwarts-themed journal, measuring 4-1/4 inches by 7 inches, complete with quotes, writing prompts, and photos throughout * PERFECT PRESENT: This one-of-a kind, ultra-deluxe, Wizarding World kit is a perfect gift or self-purchase for the Potter fan or collector * OFFICIALLY LICENSED: Authentic Harry Potter Collectible

In Frankenstein Was a Vegetarian: Essays on Food Choice, Identity, and Symbolism, Michael Owen Jones tackles topics often overlooked in foodways. At the outset he notes it was Victor Frankenstein's "daemon" in Mary Shelley's novel that advocated vegetarianism, not the scientist whose name has long been attributed to his creature. Jones explains how we communicate through what we eat, the connection between food choice and who we are or want to appear to be, the ways that many of us self-medicate moods with foods, and the nature of disgust. He presents fascinating case studies of religious bigotry and political machinations triggered by rumored bans on pork, the last meal requests of prisoners about to be executed, and the Utopian vision of Percy Bysshe Shelley, one of England's greatest poets, that was based on a vegetable diet like the creature's meals in Frankenstein. Jones also scrutinizes how food is used and abused on the campaign trail, how gender issues arise when food meets politics, and how eating preferences reflect the personalities and values of politicians, one of whom was elected president and then impeached twice. Throughout the book, Jones deals with food as symbol as well as analyzes the link between food choice and multiple identities. Aesthetics, morality, and politics likewise loom large in his inquiries. In the final two chapters, Jones applies these concepts to overhauling penal policies and practices that make food part of the pains of imprisonment, and looks at transforming the counseling of diabetes patients, who number in the millions.

Following the positive contribution of microfinance to economic development in some parts of South East Asia and Africa, a huge amount of time has been devoted by researchers to understand this concept for sustainable development in Africa, particularly in Sub-Saharan Africa. The concept of microfinance also has significant positive relationship with microbusiness development. Though there are a few books on the relationship between microfinance and poverty reduction in Africa and some developing countries across world. There is no specific book that explores the relationship between microfinance and sustainable development in Africa. Certainly, the use of microfinance for poverty reduction and economic development in the developing world is growing. However, this concept needs to be expanded to ensure its application with the view to achieving sustainable development in developing countries, particularly in Africa. Therefore, this book seeks to explore how the provision of microfinance to individuals, groups and business organisations facilitates economic growth and sustainable development in Africa. In this regard, this book hopes to examine the complex relationship between receipt of microfinance, poverty reduction, economic growth and microbusiness development, focusing on the provision of small credit facilities as a driver of sustainable development in Africa. This book aims to examine and bring on board the various views and perspectives on the relationship between microfinance and sustainable economic development in Africa through industry experts, experienced researchers and policymakers. The concept of microfinance and its relationship with sustainable development in Africa will be explored by these experts and contributors from different perspectives with the view to forming an opinion on the problems, processes and prospects of microfinance in Africa. The focus here is Sub-Saharan Africa, which has witnessed growing activities of microfinance institutions. Theoretical and empirical insight to be provided in this book will be a priceless resource to microfinance institutions, policymakers, state institutions, managers and non-governmental organisations working in developing countries particularly in Africa. This book is envisaged to also benefit financial institutions that are looking to expand their product portfolio and outreach. The book will offer great insight into theoretical, policy-oriented and practical ways to address some of the challenges of using microfinance for sustainable development in Africa. Given the focus of this book on the nexus between microfinance and sustainable development, there will be a broadening of ideas on how the provision of microfinance can aid sustainable development in Africa.

Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema's indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock's Saving Mr. Banks (2013); Richard Linklater's oeuvre; Paul Greengrass's United 93 (2006); Oliver Stone's World Trade Center (2006); Stephen Daldry's Extremely Loud and Incredibly Close (2011); and Christopher Nolan's Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.

As humans, we embrace our individuality, yet we chase the comfort and sense of purpose that comes from being part of a group. Especially timely given our polarized world, Chasing We-ness examines how social media, AI, new leadership styles, and other modern developments affect our state of we-ness. It illuminates how our contemporary identities find expression in both progressive and conservative social movements that foster a sense of we-ness. Embracing the reality that "we're all in this together," the book interrogates our efforts to achieve a state of we-ness that rejects hate, social injustice, and autocratic agendas in the twenty-first century. This book explores why, how, and with what effect we build we-ness into our lives in both healthy and destructive ways. William Marsiglio draws on his expertise as a leading sociologist to explore the motivational forces that inspire a sense of group belonging in intimate groups, civic organizations, thought communities, sports and leisure activities, and work. Promoting initiatives that cultivate mindfulness, empathy, altruism, and leadership, Chasing We-ness proposes essential life skills to empower us, reduce social divisions, strengthen the social fabric, and uplift our spirits as global citizens.

Maurice Blanchot is perhaps best known as a major French intellectual of the twentieth century: the man who countered Sartre's views on literature, who affirmed the work of Sade and Lautreamont, who gave eloquent voice to the generation of '68, and whose philosophical and literary work influenced the writing of, among others, Jacques Derrida, Gilles Deleuze, and Michel Foucault. He is also regarded as one of the most acute narrative writers in France since Marcel Proust. In Clandestine Encounters, Kevin Hart has gathered together major literary critics in Britain, France, and the United States to engage with Blanchot's immense, fascinating, and difficult body of creative work. Hart's substantial introduction usefully places Blanchot as a significant contributor to the tradition of the French philosophical novel, beginning with Voltaire's Candide in 1759, and best known through the works of Sartre. Clandestine Encounters considers a selection of Blanchot's narrative writings over the course of almost sixty years, from stories written in the mid-1930s to L'instant de ma mort (1994). Collectively, the contributors' close readings of Blanchot's novels, recits, and stories illuminate the close relationship between philosophy and narrative in his work while underscoring the variety and complexity of these narratives. Contributors: Christophe Bident, Arthur Cools, Thomas S. Davis, Christopher Fynsk, Rodolphe Gasche, Kevin Hart, Leslie Hill, Michael Holland, Stephen E. Lewis, Vivian Liska, Caroline Sheaffer-Jones, Christopher A. Strathman, Alain Toumayan

The years following the signing of the Armistice saw a transformation of traditional attitudes regarding military conflict as America attempted to digest the enormity and futility of the First World War. During these years popular film culture in the United States created new ways of addressing the impact of the war on both individuals and society. Filmmakers with direct experience of combat created works that promoted their own ideas about the depiction of wartime service-ideas that frequently conflicted with established, heroic tropes for the portrayal of warfare on film. Those filmmakers spent years modifying existing standards and working through a variety of storytelling options before achieving a consensus regarding the fitting method for rendering war on screen. That consensus incorporated facets of the experience of Great War veterans, and these countered and undermined previously accepted narrative strategies. This process reached its peak during the Pre-Code Era of the early 1930s when the initially prevailing narrative would be briefly supplanted by an entirely new approach that questioned the very premises of wartime service. Even more significantly, the rhetoric of these films argued strongly for an antiwar stance that questioned every aspect of the wartime experience. For No Reason at All: The Changing Narrative of the First World War in American Film discusses a variety of Great War-themed films made from 1915 to the present, tracing the changing approaches to the conflict over time. Individual chapters focus on movie antecedents, animated films and comedies, the influence of literary precursors, the African American film industry, women-centered films, and the effect of the Second World War on depictions of the First. Films discussed include Hearts of the World, The Cradle of Courage, Birthright, The Big Parade, She Goes to War, Doughboys, Young Eagles, The Last Flight, Broken Lullaby, Lafayette Escadrille, and Wonder Woman, among many others.