German Crime Dramas from Network Television to Netflix approaches German television crime dramas to uncover the intersections between the genre's media-specific network and post-network formats and how these negotiate with and contribute to concepts of the regional, national, and global. Part I concentrates on the ARD network's long-running flagship series Tatort (Crime Scene 1970-). Because the domestically produced crime drama succeeded in interacting with and competing against dominant U.S. formats during 3 different mediascapes, it offers strategic lessons for post-network television. Situating 9 Tatort episodes in their televisual moment within the Sunday evening flow over 38 years and 3 different German regions reveals how producers, writers, directors, critics, and audiences interacted not only with the cultural socio-political context, but also responded to the challenges aesthetically, narratively, and media-reflexively. Part II explores how post-2017 German crime dramas (Babylon Berlin, Dark, Perfume, and Dogs of Berlin) rework the genre's formal and narrative conventions for global circulation on Netflix. Each chapter concentrates on the dynamic interplay between time-shifted viewing, transmedia storytelling, genre hybridity, and how these interact with projections of cultural specificity and continue or depart from established network practices. The results offer crucial information and inspiration for producers and executives, for creative teams, program directors, and television scholars.

Reporting Islam examines the coverage of Muslim women in the New York Times from 1979-2011. The analysis addresses the nature of the coverage; whether there are parallels in the depiction of Muslim women from the Middle East and South Asia and with the US government policies toward these countries; and the relationship between feminism in the US and the representation of Muslim women in the US. At a time when women often become the iconic representatives of their nations, their cultures and their religions, this book offers unique insight into how a dramatic period of contemporary history for the Middle East and South Asia was depicted by the leading print newspaper in the world. The coverage captures the Islamic Revolution in Iran, the rise of Islamist movements across the Middle East, South Asia, and Africa, the first Gulf War, the 9/11 events, the second Gulf War, the War on Terror, and the Arab uprisings. The book asks critical questions about the wider implications of the misrepresentation of Muslim women in the media, and the links between print news, US foreign policy and women.

This groundbreaking book investigates the clash between a desire for unfettered mobility and the prevalence of inequality, exploring how this generates frictions in everyday life and how it challenges the ideal of just cosmopolitanism. Reading fictional and popular cultural texts against real global contexts, it develops an 'aesthetics of justice' that does not advocate cosmopolitan mobility at the expense of care and hospitality but rather interrogates their divorce in neoliberal contexts. In this timely analysis, Rodanthi Tzanelli discusses questions of social injustice in the context of multiple and intertwined mobilities - business, technology, travel, tourism, popular cultural pilgrimage and social movements - that are at the forefront of early twenty-first century socio-cultural concerns. The book thus creates an interdisciplinary intervention on the politics and poetics of mobility in rapidly globalised lifeworlds and places. Human geography and sociology scholars with a particular interest in mobilities studies, cosmopolitanism, social theory and tourism or pilgrimage studies will find this book an intriguing and insightful read.

Elgar Research Agendas outline the future of research in a given area. Leading scholars are given the space to explore their subject in provocative ways, and map out the potential directions of travel. They are relevant but also visionary. Over the past 20 years, the concept of creative industries has become a widely recognised policy paradigm adopted in numerous countries, agencies and educational institutions around the world. A Research Agenda for Creative Industries probes the key issues that will help to advance research into creative industries as a productive and innovative intervention in public policy. Issues addressed include how much should a research agenda for creative industries be policy-oriented? How workable is the so-called triple bottom line rationale for creative industries? What innovative theories, research approaches and methods are called for in advancing a creative industries agenda? With contributions from leading scholars, policy and industry specialists, this interdisciplinary Research Agenda will be a vital resource for students and academics working in the fields of communication, culture, film and media, geography, business and policy studies, and Internet and social media studies.

Elgar Advanced Introductions are stimulating and thoughtful introductions to major fields in the social sciences, business and law, expertly written by the world's leading scholars. Designed to be accessible yet rigorous, they offer concise and lucid surveys of the substantive and policy issues associated with discrete subject areas. As the world faces extreme economic, environmental and political crises, this bold and accessible Advanced Introduction argues for a future-facing approach to the creative economy and creative innovation. The book analyses contemporary and historical arts and culture whilst assessing historical shifts from national to global cultures; analogue to digital technologies; and individualist to systems thinking. Key features include: A new approach to the creative industries based on complex systems and evolutionary dynamics Combining humanities-based analysis with economics of innovation A critique of important theorists and intellectual traditions involved in the study of modern mediated creativity Reconceptualizing arts, copyright, cities, time, global media and social agency A thought-provoking reassessment of modernity to pivot creative enterprise for the challenges of the Anthropocene era. Scholars and students of media and communications studies, political economy and economics will benefit from the new approach to creative media and culture, and its proposals to rethink the economics of creativity and innovation. This book will be a helpful guide for policy-makers, consultants and freelancers who work across the borderlines of art, media, technology, business and regulation.

In 1914, the Associated Newspapers sent correspondent Herbert Corey to Europe on the day Great Britain declared war on Germany. During the Great War that followed, Corey reported from France, Britain, and Germany, visiting the German lines on both the western and eastern fronts. He also reported from Greece, Italy, Switzerland, Holland, Belgium, and Serbia. When the Armistice was signed in November 1918, Corey defied the rules of the American Expeditionary Forces and crossed into Germany. He covered the Paris Peace Conference the following year. No other foreign correspondent matched the longevity of his reporting during World War I. Until recently, however, his unpublished memoir lay largely unnoticed among his papers in the Library of Congress. With publication of Herbert Corey's Great War, coeditors Peter Finn and John Maxwell Hamilton reestablish Corey's name in the annals of American war reporting. As a correspondent, he defies easy comparison. He approximates Ernie Pyle in his sympathetic interest in the American foot soldier, but he also told stories about troops on the other side and about noncombatants. He is especially illuminating on the obstacles reporters faced in conveying the story of the Great War to Americans. As his memoir makes clear, Corey didn't believe he was in Europe to serve the Allies. He viewed himself as an outsider, one who was deeply ambivalent about the entry of the United States into the war. His idiosyncratic, opinionated, and very American voice makes for compelling reading.

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.

Nearly sixty years after Freedom Summer, its events-especially the lynching of Andrew Goodman, James Chaney, and Mickey Schwerner-stand out as a critical episode of the civil rights movement. The infamous deaths of these activists dominate not just the history but also the public memory of the Mississippi Summer Project. Beginning in the late 1970s, however, movement veterans challenged this central narrative with the shocking claim that during the search for Goodman, Chaney, and Schwerner, the FBI and other law enforcement personnel discovered many unidentified Black bodies in Mississippi's swamps, rivers, and bayous. This claim has evolved in subsequent years as activists, journalists, filmmakers, and scholars have continued to repeat it, and the number of supposed Black bodies-never identified-has grown from five to more than two dozen. In Black Bodies in the River: Searching for Freedom Summer, author Davis W. Houck sets out to answer two questions: Were Black bodies discovered that summer? And why has the shocking claim only grown in the past several decades-despite evidence to the contrary? In other words, what rhetorical work does the Black bodies claim do, and with what audiences? Houck's story begins in the murky backwaters of the Mississippi River and the discovery of the bodies of Henry Dee and Charles Moore, murdered on May 2, 1964, by the Ku Klux Klan. He pivots next to the Council of Federated Organization's voter registration efforts in Mississippi leading up to Freedom Summer. He considers the extent to which violence generally and expectations about interracial violence, in particular, serves as a critical context for the strategy and rhetoric of the Summer Project. Houck then interrogates the unnamed-Black-bodies claim from a historical and rhetorical perspective, illustrating that the historicity of the bodies in question is perhaps less the point than the critique of who we remember from that summer and how we remember them. Houck examines how different memory texts-filmic, landscape, presidential speech, and museums-function both to bolster and question the centrality of murdered white men in the legacy of Freedom Summer.

We are at a defining point in the history of news. Following a surge of fake news, clickbait and conspiracy theories, the 2020s have ushered in a welter of existential threats for public service broadcasting. So, where do we go from here? Former Today editor and head of BBC television news Roger Mosey thinks public service broadcasters must buck the trends and in this incisive book he offers twenty core ways in which the news can save itself by getting smarter, sharper, more diverse, more nuanced and less exposed to pummelling by politicians. Mosey sees two possible futures: one in which the incitements of populist demagogues and the passions of social media are ever dominant - or one where we fight hard to retain media that has an interest in the public good and preserves truth, fairness and evidence-based judgements. From one of British broadcasting's most experienced voices comes the definitive exploration of Britain's news output and what must change if we are to avoid a future of uninspiring news, uninformed decision-making and accountability-dodging politicians.

This intriguing volume sheds light on the diverse world of collecting film- and media-related materials. Lucy Fischer's introduction explores theories of collecting and representations of collecting and collections in film, while arguing that collections of film ephemera and other media-related collections are an important way in to understanding the relationship between material culture and film and media studies; she notes that the collectors have various motivations and types of collections. In the eleven chapters that follow, media studies scholars analyze a variety of fascinating collected materials, from Doris Day magazines to Godzilla action figures and LEGOs. While most contributors discuss their personal collections, some also offer valuable insight into specific collections of others. In many cases, collections that began as informal and personal have been built up, accessioned, and reorganized to create teaching and research materials which have significantly contributed to the field of film and media studies. Readers are offered glimpses into diverse collections comprised of films, fan magazines, records, comics, action figures, design artifacts, costumes, props- including Buffy the Vampire Slayer costumes, Planet of the Apes publicity materials, and Amazing Spider Man comics. Recollecting Collecting interrogates and illustrates the meaning and practical nature of film and media collections while also considering the vast array of personal and professional motivations behind their assemblage.

It may be stipulated that, in the emergent media age of illusion, the scope of media issues is vast and pervasive in every field of scientific research as-well-as mystical philosophy. Issues of a "conscious universe", "universal fractal "sentience", and subjects of nanotechnology and the "Psychic paranormal" have begun to be understood as issues of the global media that have been subdivided into issues of "fake news", social media, propaganda, transpersonal psychology, human "embodiment", climate change & human intention, governmental structure, and more. This book establishes a possible template for addressing the global media mandate as a scientific study of paranormal influence on global culture. Such an approach to the "New Normal" has been mandated by recent events (especially the attempted insurrection in the U.S.) that highlight global issues of mediated influences on the dynamic of government. Futurist academics and professionals who are researching this ""new normal"" of the mediasphere and this book will be a valuable contribution to the field.

The evolution of how gender and feminism have been portrayed within media and literature has changed dramatically over the years as society continues to understand the importance of representation within entertainment. To fully understand how the field has changed, further study on the current and past forms of media representation is required. The Handbook of Research on Gender Studies and Feminism in Literature and Media engages with literary texts, digital media, films, and art to consider the relevant issues and empowerment strategies of feminism and gender and discusses the latest theories and ideas. Covering topics such as gender performativity, homophobia, patriarchy, sexuality, LGBTQ community, digital studies, and empowerment strategies, this major reference work is ideal for government officials, policymakers, researchers, scholars, academicians, practitioners, instructors, and students.

Traditional media is over. The internet reigns. And in the attention economy, influencers are royalty. But who are they … and how do you become one?

Break the Internet takes a deep dive into the influencer industry, tracing its evolution from blogging and legacy social media such as Tumblr to today’s world in which YouTube, Instagram, and TikTok dominate. Surveying the new media landscape that the rise of online celebrity has created, it is an insider account of a trend which is set to dominate our future — experts estimate that the economy of influence will be valued at $24bn globally by 2025.

Olivia Yallop enrols in an influencer bootcamp, goes undercover at a fan meetup, and shadows online vloggers, Instagrammers, and content creators to understand how online personas are built, uncovering what it is really like to live a branded life and trade in a ‘social stock market’. From mumfluencers and activists to governments and investors, everyone wants to build their online influence. But how do you stay authentic in a system designed to commodify identity? Break the Internet examines both the dangers and the transformative potential of online culture.

In Dockside Reading, Isabel Hofmeyr traces the relationships among print culture, colonialism, and the ocean through the institution of the British colonial Custom House.

During the late nineteenth and early twentieth centuries, dockside customs officials would leaf through publications looking for obscenity, politically objectionable materials, or reprints of British copyrighted works, often dumping these condemned goods into the water. These practices, echoing other colonial imaginaries of the ocean as a space for erasing incriminating evidence of the violence of empire, informed later censorship regimes under apartheid in South Africa.

By tracking printed matter from ship to shore, Hofmeyr shows how literary institutions like copyright and censorship were shaped by colonial control of coastal waters. Set in the environmental context of the colonial port city, Dockside Reading explores how imperialism colonizes water.

Hofmeyr examines this theme through the concept of hydrocolonialism, which puts together land and sea, empire and environment.

Changing practices and perceptions of parenthood and family life have long been the subject of intense public, political and academic attention. Recent years have seen growing interest in the role digital media and technologies can play in these shifts, yet this topic has been under-explored from a discourse analytical perspective. In response, this book's investigation of everyday parenting, family practices and digital media offers a new and innovative exploration of the relationship between parenting, family practices, and digitally mediated connection. This investigation is based on extensive digital and interview data from research with nine UK-based single and/or lesbian, gay or bisexual parents who brought children into their lives in non-traditional ways, for example through donor conception, surrogacy or adoption. Through a novel approach that combines constructivist grounded theory with mediated discourse analysis, this book examines connected family lives and practices in a way that transcends the limiting social, biological and legal structures that still dominate concepts of family in contemporary society.