Bridal magazines have become increasingly popular in Western society, proliferating the idea of a 'princess bride' on her 'big day'. Yet little has been written on how the ever-expanding wedding media and the popular wedding culture constructs gender and affects the ways women live and experience their weddings. Offering a critique of contemporary wedding discourse, this book marries together analyses of media texts and their reception to propose a new approach to media discourse. The analysis richly illustrates how women are invited to embrace not only the stereotypical idea of bridal femininity but also a consumptive way of experiencing it. Through examination of brides' accounts of their 'big days', the book observes the imprints of the popular gender imagery on their self-portraits and self-narratives, and describes the women's diverse approaches to them. Based on insights from gender and critical discourse studies, sociology and audience research, this exploration illuminates the ongoing debate on 'media and gender' and its methodological approaches.

The book draws on critical media policy studies, to study the principles and performances of policies and policymaking for community radio in four countries of South Asia---Sri Lanka, Nepal, India, and Bangladesh. It focuses on the processes and practices of deliberation that go into policymaking, across space and time, and the global-local spectrum. It stitches together a critical media policy ethnography, drawing on over a 100 formal interviews and informal conversations with policy actors from South Asia, in a bid to present a deliberative policy analysis of policymaking for community radio in the region. Drawing on Grounded Theory, the book fleshes out the Deliberative Policy Ecology Approach as an inclusive heuristic to study media policies.

The traditional documentary programming of network television's bygone era has given way to the recent explosion of ratings-driven, personality-based news magazine programming. While ostensibly conforming to a high standard of public service, these magazines, as even some of their producers admit, must succumb to the forces of public appetite and profit maximization in order to be competitive.

This study examines this phenomenon of the electronic magazine and shows how the soft news programs affect the public's view of American politics and culture. Maintaining the distinction between the syndicated, tabloid-style programming (whose survival depends almost entirely on rating success) and the more responsibly conceived network magazine programming, Spragens provides a thorough content analysis of "60 Minutes," "Dateline NBC," "20/20," and similar network series. His study traces the development of the television magazine genre from the original "60 Minutes" through the current crop of news programs; it tracks the soft/hard or sensational/serious content dichotomy and its relation to ratings; and it draws conclusions about the trends in soft news programming and their impact on the American public.

This book examines social aspects of humour relating to the judiciary, judicial behaviour, and judicial work across different cultures and eras, identifying how traditionally recorded wit and humorous portrayals of judges reflect social attitudes to the judiciary over time. It contributes to cultural studies and social science/socio-legal studies of both humour and the role of emotions in the judiciary and in judging. It explores the surprisingly varied intersections between humour and the judiciary in several legal systems: judges as the target of humour; legal decisions regulating humour; the use of humour to manage aspects of judicial work and courtroom procedure; and judicial/legal figures and customs featuring in comic and satiric entertainment through the ages. Delving into the multi-layered connections between the seriousness of the work of the judiciary on the one hand, and the lightness of humour on the other hand, this fascinating collection will be of particular interest to scholars of the legal system, the criminal justice system, humour studies, and cultural studies.

This book offers a comprehensive examination of midterm elections from the lens of communications and media coverage. Using a wide variety of methods, this contributed volume covers the differences, similarities, and challenges unique to midterm elections.

Contemporary anthropology is done in a world where social and digital media are playing an increasingly significant role, where anthropological and arts practices are often intertwined in museum and public intervention contexts, and where anthropologists are encouraged to engage with mass media. Because anthropologists are often expected and inspired to ensure their work engages with public issues, these opportunities to disseminate work in new ways and to new publics simultaneously create challenges as anthropologists move their practice into unfamiliar collaborative domains and expose their research to new forms of scrutiny. In this volume, contributors question whether a fresh public anthropology is emerging through these new practices.

There is an elaborate and often invisible carnival that emerges alongside presidential campaigns as innumerable activist groups attempt to press their issues into mainstream political discourse. Sarah Sobieraj's fascinating ethnographic portrait of fifty diverse organizations over the course of two campaign cycles reveals that while most activist groups equate political success with media success and channel their energies accordingly, their efforts fail to generate news coverage and come with deleterious consequences. Sobieraj shows that activists' impact on public political debates is minimal, and carefully unravels the ways in which their all-consuming media work and unrelenting public relations approach undermine their ability to communicate with pedestrians, comes at the expense of other political activities, and perhaps most perniciously, damages the groups themselves.

Weaving together fieldwork, news analysis, and in-depth interviews with activists and journalists, Soundbitten illuminates the relationship between news and activist organizations. This captivating portrait of activism in the United States lays bare the challenges faced by outsiders struggling to be heard in a mass media dominated public sphere that proves exclusionary and shows that media-centrism is not only ineffective, but also damaging to group life. Soundbitten reveals why media-centered activism so often fails, what activist groups lose in the process, and why we should all be concerned.

This book outlines a new conception of the cyborg in terms of consciousness as the parallax gap between physical and digital worlds. The contemporary subject constructs its own internal reality in the interplay of the Virtual and the Real. Reinterpreting the work of Slavoj Zizek and Gilles Deleuze in terms of the psychological and ontological construction of the digital, alongside the philosophy of quantum physics, this book offers a challenge to materialist perspectives in the fluid cyberspace that is ever permeating our lives. The inclusion of the subject in its own epistemological framework establishes a model for an engaged spectatorship of reality. Through the analysis of online media, digital art, avatars, computer games and science fiction, a new model of cyborg culture reveals the opportunities for critical and creative interventions in the contemporary subjective experience, promoting an awareness of the parallax position we all occupy between physical and digital worlds.

The book provides a comprehensive application of narrative theory to video games, and presents the player-response paradigm of game criticism. Video Game Narrative and Criticism explains the nature of gameplay - a psychological experience and a meaning-making process in the fictional world of video games.

This book explores the struggles that immigrant women experience when communicating with their transnational families through information and communication technologies (ICTs). Sondra Cuban recounts the fascinating stories of sixty female immigrants living in Washington state, and explores how gender, social class, nationality, and language influence their ICT usage. She addresses the emotional labor involved in interacting with the families they left behind as well as their ingenious communication systems which challenge the existing research surrounding this unique phenomenon. Early chapters of this book detail the current arguments and theories of transnational family communication in order to propose a new model thereof. Throughout, larger questions of global equality are addressed.

In this thorough update of one of the classic texts of media and cultural studies, Douglas Kellner argues that media culture is now the dominant form of culture that socializes us and provides and plays major roles in the economy, polity, and social and cultural life. The book includes a series of lively studies that both illuminate contemporary culture and society, while providing methods of analysis, interpretation, and critique to engage contemporary U.S. culture. Many people today talk about cultural studies, but Kellner actually does it, carrying through a unique mixture of theoretical analysis and concrete discussions of some of the most popular and influential forms of contemporary media culture. Studies cover a wide range of topics including: Reagan and Rambo; horror and youth films; women's films, the TV series Orange is the New Black and Hulu's TV series based on Margaret Atwood's The Handmaid's Tale; the films of Spike Lee and African American culture; Latino films and cinematic narratives on migration; female pop icons Madonna, Beyonce, and Lady Gaga; fashion and celebrity; television news, documentary films, and the recent work of Michael Moore; fantasy and science fiction, with focus on the cinematic version of Lord of the Rings, Philip K. Dick and the Blade Runner films, and the work of David Cronenberg. Situating the works of media culture in their social context, within political struggles, and the system of cultural production and reception, Kellner develops a multidimensional approach to cultural studies that broadens the field and opens it to a variety of disciplines. He also provides new approaches to the vexed question of the effects of culture and offers new perspectives for cultural studies. Anyone interested in the nature and effects of contemporary society and culture should read this book.

This book provides a detailed analysis of the transnational web sphere that emerged at the height of the Eurozone crisis between 2011 and 2013. During these turbulent years, a diverse spectrum of professional communicators from the media and political sectors as well as from opinionated individuals on blogs and social media discussed, and thus framed, the crisis in the digital public sphere. The analysis focuses on the various fields of contestation of the crisis that became detectable in the transnational online discourse and shows how conflict and fragmentation shaped political communication in this context. Nguyen concludes that there was not a single crisis but a chain of intersecting and profound political and cultural conflicts triggered by the economic upheavals, which led to the emergence of an extremely dynamic and unstable transnational digital public sphere, where different political and cultural viewpoints collided.

Sensationalist newspaper coverage of crime has been a matter of keen public interest. But what role has sensationalist reporting played in creating public understanding of the criminal justice system in England and Wales? This book provides an answer, presenting an engaging account of crime reportage from the late eighteenth century to the present day; from the era of specialist reporters to the days of modern investigative journalism. Written in a lively and accessible style and locating familiar crime stories from Constance Kent to Sara Payne in their contemporary presentations to newspaper readers, the chapters explore crime news in broadsheet, quality and tabloid publications and explain its importance to how the criminal justice system has been understood. The book identifies why particular crime stories came to public prominence and how these were constructed and presented for popular consumption, offering new ways of thinking about reportage and the criminal justice system.

In this book, Faye Woods explores the raucous, cheeky, intimate voice of British youth television. This is the first study of a complete television system targeting teens and twenty somethings, chronicling a period of significant industrial change in the early 21st century. British Youth Television offers a snapshot of the complexities of contemporary television from a British standpoint - youth-focused programming that blossomed in the commercial expansion of the digital era, yet indelibly shaped by public service broadcasting, and now finding its feet on proliferating platforms. Considering BBC Three, My Mad Fat Diary, The Inbetweeners, Our War and Made in Chelsea, amongst others; Woods identifies a television that is defiantly British, yet also has a complex transatlantic relationship with US teen TV. This book creates a space for British voices in an academic and cultural landscape dominated by the American teenager.

This book explores Charles De Gaulle's use and strict control of television between 1958 and 1969, highlighting the association between charismatic power and television with regards to legitimizing the Gaullist leadership and determining an evolution towards presidentialism during the Fifth Republic. A protagonist of European political history of the twentieth century, Charles de Gaulle was a pioneer in the use of mass media: in the Second World War he had earned the nickname of General-micro due to his reliance on radio communication; in 1958 he then started an substantive and fruitful use of television, which some of his opponents labelled as 'telecracy'. From difficult beginnings, where he followed the advice of publicity and communication experts, through his masterful TV appearances during the dramatic moments of the Algerian War, to the presidential campaign of 1965 and the crisis of May 1968, the author paints a compelling fresco of de Gaulle as the first TV leader in contemporary European history. The book will appeal to students and scholars interested in the fields of French politics, political communication and political leadership.

Through an investigation on how Palestinian youth appropriate low-end information and communication technologies (ICTs) and digital media forms, Sanjay Asthana and Nishan Havandjian analyze how certain developments in globalization and media convergence enable young people to create new civic spaces.

This timely collection provides high-quality interdisciplinary essays which address lesbian and bisexual representation in popular television shows such as "The Ellen DeGeneres Show," "Buffy the Vampire Slayer," "E.R.," "Queer as Folk," "Sex and the City," "The L Word" and "The O.C.." It also offers a critical introduction to queer women on television and to the scholarship that discusses such representation, and allows a framework for a multiplicity of viewpoints on a variety of topics and series.

This book offers an interpretation of the myths that shape television images and reinforce this culture's dominant ideology. It provides histories of all television genres and connects developments within each genre to political, social, and cultural shifts in the larger society. This new Second Edition updates the previous edition's close textual analysis of representative series and serials to mid-1993, reflecting the significant changes that have occurred in both the business of television in the United States and in the larger society's dominant ideology. The Second Edition also reflects significant advances in critical theory related to the study of television that have occurred over the past decade, and it incorporates both the structuralist critical position (dominant in the first edition) and a post-structuralist position which moves away from a determinist textual analysis of ideology to a consideration of possible multiple decodings.

Transnational and transborder journalism are in a unique position to address public discourses on European and regional border-transcending identities. A valuable resource for journalists, students, and scholars of international communication, Journalism across Borders explores how journalists in the border regions of Europe navigate different journalistic cultures and the lack of established routines. Drawing on dozens of interviews and newsroom observation, Kevin Grieves addresses an overlooked but important aspect of international journalism by examining how journalists carry out their daily work in the transnational and regional transborder context.

This book investigates the role of citizen journalism in railroading social and political changes in sub-Saharan Africa. Case studies are drawn from research conducted by leading scholars from the fields of media studies, journalism, anthropology and history, who uniquely probe the real impact of technologies in driving change in Africa.

This collection offers a comprehensive account of the relation between diaspora and media cultures drawing from traditional and innovative theoretical and empirical approaches illustrated by original case studies. It analyzes the dilemmas of the field, the tensions and promises of the politics of transnational communication and diasporas, the consumption of national and transnational media by diasporas communities, and the views of non-governmental organizations on issues of the politics of participation and representation of ethnic minorities in the media.

Global Journalism Practice and New Media Performance provides an overview of new and traditional media in their political, economic and cultural contexts while exploring the role of journalism practice and media education. The authors examine media systems in 16 countries, including China, Russia and the United States.

Compact Cinematics challenges the dominant understanding of cinema to focus on the various compact, short, miniature, pocket-sized forms of cinematics that have existed from even before its standardization in theatrical form, and in recent years have multiplied and proliferated, taking up an increasingly important part of our everyday multimedia environment. Short films or micro-narratives, cinematic pieces or units re-assembled into image archives and looping themes, challenge the concepts that have traditionally been used to understand cinematic experience, like linear causality, sequentiality, and closure, and call attention to complex and modular forms of cinematic expression and perception. Such forms, in turn, seem to meet the requirements of digital convergence, which has pushed the development of more compact and mobile hardware for the display and use of audiovisual content on laptops, smartphones, and tablets. Meanwhile, contemporary economies of digital content acquisition, filing, and sharing equally require the shrinking of cinematic content for it to be recorded, played, projected, distributed, and installed with ease and speed. In this process, cinematic experience is shortened and condensed as well, so as to fit the late-capitalist attention economy. The essays in this volume ask what this changed technical, socio-economic and political situation entails for the aesthetics and experience of contemporary cinematics, and call attention to different concepts, theories and tools at our disposal to analyze these changes.

Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book integrates theories and practices of cinematographic technology. Secondly, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism. Cinema is now discussed in terms of globalization of audio-visual cultures, with regard to such issues as Hollywood film studios' so-called "runaway productions" and multi-national co-productions; Hollywood remakes of Asian horror films or Hong-Kong martial arts films; and the growing significance of international film festivals. However, this volume proposes that globalization is not in itself new in the history of cinema, and that cinema has always been at the forefront of transnational culture from the beginning of its history.

Global Media Convergence and Cultural Transformation: Emerging Social Patterns and Characteristics aims to engage the complex relationship between technology, culture, and socio-economic elements by exploring it in a transnational, yet contextually grounded, framework. This book explores diverse perspectives and approaches, from political economy to cultural studies, and from policy studies to ethnography, In order to reflect varied perspectives on the convergence of culture and new media technology.