Television has conditioned us to tolerate visually entertaining material measured out in spoonfuls of time, to the detriment of rational public discourse and reasoned public affairs. In this eloquent, persuasive book, Neil Postman alerts us to the real and present dangers of this state of affairs, and offers compelling suggestions as to how to withstand the media onslaught. Before we hand over politics, education, religion, and journalism to the show business demands of the television age, we must recognize the ways in which the media shape our lives and the ways we can, in turn, shape them to serve out highest goals.

This edited collection explores the malleability and influence of body image, focusing particularly on how media representation and popular culture's focus on the body exacerbates the crucial social influence these representations can have on audiences' perceptions of themselves and others. Contributors investigate the cultural context and lived experiences of individuals' relationships with their bodies, going beyond examination of the thin, ideal body type to explore the emerging representations and portrayals of a diverse set of body types across the media spectrum, paving the way for future research on this topic. Scholars of media studies, popular culture, and health communication will find this book particularly useful.

American Boarding School Fiction, 1981-2021: Inclusion and Scandal is a study of contemporary American boarding-school narratives. Before the 1980s, writers of American boarding-school fiction tended to concentrate on mournful teenagers - the center was filled with students: white, male, Protestant students at boys' schools. More recently, a new generation of writers-including Richard A. Hawley, Anita Shreve, Curtis Sittenfeld, and Tobias Wolff-has transformed school fiction by highlighting issues relating to gender, race, scandal, sexuality, education, and social class in unprecedented ways. These new writers present characters who are rich and underprivileged, white and Black, male and female, adolescent and middle-aged, conformist and rebellious. By turning their attention away from the bruised feelings of teenagers, they have reinvented American boarding-school fiction, writing vividly about a host of subjects the genre overlooked in the past.

From 1910 to the end of World War I, American society witnessed a tremendous outpouring of books, pamphlets, and especially newspapers espousing virulently anti-Catholic themes and calling on readers to recognize the danger of Catholicism to the American republic. By 1915 the most popular anti-Catholic newspaper, The Menace, boasted over 1.6 million weekly readers. Justin Nordstrom's Danger on the Doorstep examines for the first time the rise and abrupt decline of anti-Catholic literature during the Progressive Era, as well as the issues and motivations that informed anti-Catholic writers and their "Romanist" opponents. Nordstrom explores the connection between anti-Catholicism and nationalism from 1910-1919. He argues that the anti-Catholic literature that occupied such a prominent place in the cultural landscape derived its popularity by infusing long-standing anti-Catholic traditions with the emerging themes of progressivism, masculinity, and nationalism. Nordstrom demonstrates that in the pages of anti-Catholic texts, Catholicism emerged as a manifestation of and a scapegoat for the dangers of modernity-including rampant urbanization, immigration, political corruption, and the proliferation of power conglomerates. Samples of Menace cartoons underscore Nordstrom's arguments. Danger on the Doorstep also examines Catholics' vigorous and highly-organized responses to journalistic attacks in the 1910s, ranging from lawsuits to widespread public relations campaigns. According to Nordstrom, the unraveling of anti-Catholic print literature by the end of the 1910s and the growing public presence of American Catholicism suggest that Catholic claims to full citizenship had trumped opponents' assertions of conspiracy. This fascinating look at an understudied episode of anti-Catholic radicalism will be of interest to scholars and students of religious history, popular culture, and journalism.

Film festivals around the world are in the business of making experiences for audiences, elites, industry, professionals, and even future cultural workers. Cinema and the Festivalization of Capitalism explains why these non-profit organizations work as they do: by attracting people who work for free, while appealing to businesses and policymakers as a cheap means to illuminate the creative city and draw attention to film art. Ann Vogel's unprecedented systematic sociological analysis thus provides firm evidence for the 'festival effect', which situates the festival as a key intermediary in cinema value chains, yet also demonstrates the impact of such event culture on cultural workers' lives. By probing the various resources and institutional pillars ensuring that the festivalization of capitalism is here to stay, Vogel urges us to think critically about publicly displayed benevolence in the context of cinema-and beyond.

This collection of original essays examines debates on how written, printed, visual, and performed works produced meaning in American culture before 1900. The contributors argue that America has been a multimedia culture since the eighteenth century. According to Sandra M. Gustafson, the verbal arts before 1900 manifest a strikingly rich pattern of development and change. From the wide variety of indigenous traditions, through the initial productions of settler communities, to the elaborations of colonial, postcolonial, and national expressive forms, the shifting dynamics of performed, manuscript-based, and printed verbal art capture critical elements of rapidly changing societies. The contributors address performances of religion and government, race and gender, poetry, theater, and song. Their studies are based on texts-intended for reading silently or out loud-maps, recovered speech, and pictorial sources. As these essays demonstrate, media, even when they appear to be fixed, reflected a dynamic American experience. Contributors: Caroline F. Sloat, Matthew P. Brown, David S. Shields, Martin Bruckner, Jeffrey H. Richards, Phillip H. Round, Hilary E. Wyss, Angela Vietto, Katherine Wilson, Joan Newlon Radner, Ingrid Satelmajer, Joycelyn Moody, Philip F. Gura, Coleman Hutchison, Oz Frankel, Susan S. Williams, Laura Burd Schiavo, and Sandra M. Gustafson

Through political and cultural analysis of representations of the so-called war on drugs, Oswaldo Zavala makes the case that the very terms we use to describe drug traffickers are a constructed subterfuge for the real narcos: politicians, corporations, and the military. Though Donald Trump's incendiary comments and monstrous policies on the border reveal the character of a deeply depraved leader, state violence on both sides of the border is nothing new. Immigration has endured as a prevailing news topic, but it is a fixture of modern society in the neoliberal era; the future will be one of exile brought on by state violence and the plundering of our natural resources to sate capitalist greed. Yet, the realities of violence in Mexico and along the border are obscured by the books, films, and TV series we consume. In truth, works like Sicario, The Queen of the South, and Narcos hide Mexico's political realities. Along with these examples, Zavala discusses Charles Bowden, 2666 by Roberto BolaNo, and other important Latin American writers as examples of works that do capture the realities of the drug war. Drug Cartels Do Not Exist will be useful for journalists, political scientists, philosophers, and writers of any kind who wish to break down the constructed barriers-physical and mental-created by those in power around the reality of the Mexican drug trade.

This book explores the media ecologies of literature - the ways in which a literary text is interwoven in its material, technical, performative, praxeological, affective, and discursive network and which determine how it is experienced and interpreted. Through novel approaches to the complex, contingent and interdependent environments of literature, this volume demonstrates how questions about the mediality of literature - particularly in the wake of digitization - shed a new light on our understanding of textuality, reading, platforms and reception processes. By drawing on recent developments in advanced media theory, Media Ecologies of Literature emphasizes the productivity of innovative re-conceptualizations of literature as a medium in its own right. In an intentionally wide historical scope, the essays engage with literary texts from the Romantic to the contemporary period, from Charlotte Smith and Oscar Wilde to A. L. Kennedy and Mark Z. Danielewski, from the traditionally printed novel to audiobooks and reading apps.

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.

International advertising is an important discipline in social sciences studies. Many books and articles have been published in international advertising, however only few of them contain information about advertising industry and research in specific international countries/regions. This book intends to give a local/global perspective to international advertising. Therefore, this book provides an ideal resource for academicians, researchers, advertising and marketing experts and students on a global perspective. This book includes information about international advertising and different international cultures. It covers specific countries and specific international regions regarding advertising. This text also includes a literature review of the advertising industry for various countries and regions. This book, within the social science studies discipline, is comprised of articles in international advertising about specific countries and international regions.

In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers. Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city's vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists' accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

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.

How did the Israeli military learn to cope with the ubiquity of media technologies that routinely document their power abuses? Why did they re-appropriate these to tighten their grip on Palestinian civilians? This book explains why a high-tech nation with advanced military technologies came to rely on the everyday media habits performed by soldiers and civilians. Daniel Mann argues that the intensification of the security regime in Palestine, and the increasingly personal use of media technologies by both soldiers and civilians, are deeply entangled. The book traces how, beginning in the 1990s, the integration of media into the lives of civilians and Israeli soldiers enabled Israel to transfer responsibilities to individual users, who in turn became legally and ethically liable for state abuses of power. Drawing on declassified documents, found footage, and social media, Mann shows how both media and warfare have been remodelled around the figure of the defensive, isolated, and insular 'individual'. Mann suggests that the focus on representations and their close visual analysis paradoxically hinders our ability to understand media. Instead of zooming into fine details, we must step back to reveal the assemblage of images, users, and infrastructure that together serve to maintain the racial, legal and aesthetic divide between Israel and Palestine.

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.

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.

The presidency of Donald J. Trump, has had a considerable impacts on American politics and society. One of these was his altering of the comedic mood in America, taking comedy away from many of its traditions. His presidency turned comedy into political weaponry, as comedians on the liberal side of politics turned their efforts to ridiculing Trump's buffoonish persona, while on the conservative side, a Trump-supportive group of comedians mocked those very comedians who opposed Trump. Trump himself emerged as a comedian, performing his dark, caustic, comical routines with consummate skill at his rallies. If comedy is a pulse for a country, then it is legitimate to ask if that pulse still beating, even after Trump lost reelection in 2020. This book will address this question, examining how Trump's presidency interrupted the historical flow of American comedic traditions, and how it spread a dark mood throughout American society.

The News Untold offers an important new perspective on media narratives about poverty in Appalachia. It focuses on how small-town reporters and editors in some of the region's poorest communities decide what aspects of poverty are news, how their audiences interpret those decisions, and how those two related processes help shape broader understandings of economic need and local social responsibility. Focusing on patterns of both media creation and consumption, The News Untold shows how a lack of constructive news coverage of economic need can make it harder for the poor to voice their concerns. Critical and inclusive news coverage of poverty at the local level, Michael Clay Carey writes, can help communities start to look past old stereotypes and attitudes and encourage solutions that incorporate broader sets of community voices. Such an effort will require journalists and community leaders to reexamine some of the professional traditions and social views that often shape what news looks like in small towns.