This volume explores the notion of "affective media" within and across different arts in Japan, with a primary focus on music, whether as standalone product or connected to other genres such as theatre and photography. The volume explores the Japanese reception of this "affective media", its transformation and subsequent cultural flow. Moving from a discussion of early encounters with the West through Jesuits and others, the contributors primarily consider the role of music in the nineteenth, twentieth, and twenty-first centuries. With ten original chapters, the volume covers a wealth of themes, from education, koto music, guitar making, avant-garde recorder works, musicals and rock photography, to interviews with contemporary performers in jazz, modern rock and J-pop. Innovative and fascinating, the book provides rich new insights and material to all those interested in Japanese musical culture.

The Cooperstown Symposium on Baseball and American Culture, 2009-2010 is an anthology of scholarly essays that utilize the national game to examine topics whose import extends beyond the ballpark and constitute a significant academic contribution to baseball literature. The essays represent sixteen of the leading presentations from the two most recent proceedings of the annual Cooperstown Symposium on Baseball and American Culture, held, respectively, on June 3-5, 2009, and June 2-4, 2010. The anthology is divided into five parts: Baseball as Culture: Dance, Literature, National Character, and Myth; Constructing Baseball Heroes; Blacks in Baseball: From Segregation to Conflicted Integration; The Enterprise of Baseball: Economics and Entrepreneurs; and Genesis and Legacy of Baseball Scholarship, which features an essay written by the co-creator of baseball scholarship, Dorothy Jane Mills.

An examination of the development of local radio broadcasting and the trend for locally-owned, locally-originated and locally-accountable commercial radio stations to fall into the hands of national and international media groups. Starkey traces the early development of local radio through to present-day digital environments.

Passionate Friendship explores sh jo manga, romance comics for teenage girls, by reviewing Japanese girls' print culture from its origins in 1920s and 1930s girls' literary magazines to the 1970s "revolution" sh jo manga, when young women artists took over the genre. It looks at the narrative and aesthetic features of girls' literature and illustration across the twentieth century and discusses how these texts addressed and formed a reading community of girls, even as they were informed by competing political and social ideologies.

The Color Pynk is a passionate exploration of Black femme poetics of survival. Sidelined by liberal feminists and invisible to mainstream civil rights movements, Black femmes spent the Trump years doing what they so often do best: creating politically engaged art, entertainment, and ideas. In the first full-length study of Black queer, cis-, and trans-femininity, Omise'eke Natasha Tinsley argues that this creative work offers a distinctive challenge to power structures that limit how we color, gender, and explore freedom. Tinsley engages 2017-2020 Black femme cultural production that colorfully and provocatively imagines freedom in the stark white face of its impossibility. Looking to the music of Janelle Monae and Kelsey Lu, Janet Mock's writing for the television show Pose, the fashion of Indya Moore and (F)empower, and the films of Tourmaline and Juliana Huxtable, as well as poetry and novels, The Color Pynk conceptualizes Black femme as a set of consciously, continually rescripted cultural and aesthetic practices that disrupts conventional meanings of race, gender, and sexuality. There is an exuberant defiance in queer Black femininity, Tinsley finds--so that Black femmes continue to love themselves wildly in a world that resists their joy.

France's performance in the 2002 World Cup brought back painful memories of a time when France was a weak contender in world and European football -- a time when national or club teams rarely won, and the French were renowned for having little interest in the game. Today, football plays a unique role in French society. French players and coaches are highly sought after abroad and the national team has chalked up significant recent victories, including a World Cup and European Championship. This book is the first in English to examine the extraordinary cultural, economic, and political history behind French football's development throughout the twentieth century and up to the present day. It focuses on the past twenty years and concludes with a discussion of the fallout from the World Cup 2002.Imported from Britain by the middle classes in the late nineteenth century, football entered French national consciousness between the wars. As with everywhere else in Europe, the game helped to unite communities and forge new social identities. Although the State has generously supported youth coaching, the evolution of the professional sport has been slow due to tight community control, high taxes and lack of income from paying spectators. In a bid to compete successfully in Europe, the owners of France's big city clubs are seeking to commercialize the game, despite the resistance of central and local authorities.Hare traces the gradual evolution of traditional French football values and explores the impact of new and controversial business practices. Have French football's influential club chairmen sold out to business values and television? Why has the national team been so successful when clubteams have not? How are top clubs being re-branded to catch a national and international audience of consumers? What role does the modern supporter play, and what are the links between businessmen, politics and the commercialization of the sport? What is peculiarly French about French football, and what does football tell us about France? Hare also pays specific attention to issues relating to race and racism. He looks at racist attitudes among fans, and considers how the multi-cultural and multi-racial population of France is reflected in the national football team. This book not only provides a fascinating cultural history of French football, but also an engrossing account of how national identity and community values are being transformed and reshaped in the global marketplace.

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The book sets out to examine the concept of 'chav', providing a review of its origins, its characterological figures, the process of enregisterment whereby it has come to be recognized in public discourse, and the traits associated with it in traditional media representations. The author then discusses the 'chav' label in light of recent re-appropriations in social network activity (particularly through the video-sharing app TikTok) and subsequent commentary in the public sphere. She traces the evolution of the term from its use during the first decade of the twenty-first century to make sense of class, status and cultural capital, to its resurgence and the ways in which it is still associated with appearance in gendered and classed ways. She then draws on recent developments in linguistic anthropology and embodied sociocultural linguistics to argue that social media users draw on communicative resources to perform identities that are both situated in specific contexts of discourse and dynamically changing, challenging the idea that geo-sociocultural varieties and mannerisms are the sole way of indexing membership of a community. This volume contends that equating 'chav' with 'underclass' in the most recent uses of the concept on social networks may not be the whole story, and the book will be of interest to sociocultural linguistics and identity researchers, as well as readers in anthropology, sociology, British studies, cultural studies, identity studies, digital humanities, and sociolinguistics.

This collection explores the centrality of The Who's classic album, and Franc Roddam's cult classic film of adolescent life, Quadrophenia to the recent cultural history of Britain, to British subcultural studies, and to a continuing fascination with Mod style and culture. The interdisciplinary chapters collected here set the album and film amongst critical contexts including gender and sexuality studies, class analysis, and the film and album's urban geographies, seeing Quadrophenia as a transatlantic phenomenon and as a perennial adolescent story. Contributors view Quadrophenia through a variety of lenses, including the Who's history and reception, the 1970s English political and social landscape, the adolescent novel of development (the bildungsroman), the perception of the film through the eyes of Mods and Mod revivalists, 1970s socialist politics, punk, glam, sharp suits, scooters and the Brighton train, arguing for the continuing richness of Quadrophenia's depiction of the adolescent dilemma. The volume includes new interviews with Franc Roddam, director of Quadrophenia, and the photographer Ethan Russell, who took the photos for the album's famous photo booklet.

"Queer Voices" sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.

This book is the first to take comedy seriously as an important aspect of the popular mockumentary form of film and television fiction. It examines the ways in which mockumentary films and television programmes make visible-through comedy-the performances that underpin straight documentaries and many of our public figures. Mockumentary Comedy focuses on the rock star and the politician, two figures that regularly feature as mockumentary subjects. These public figures are explored through detailed textual analyses of a range of film and television comedies, including A Hard Day's Night, This is Spinal Tap, The Thick of It, Veep and the works of Christopher Guest and Alison Jackson. This book broadens the scope of existing mockumentary scholarship by taking comedy seriously in a sustained way for the first time. It ultimately argues that the comedic performances-by performers and of documentary conventions-are central to the form's critical significance and popular appeal.

Was early Hollywood, with its celluloid dreams and theme-park cemeteries, the beginning of the end of the Western humanist tradition? British Novelists in Hollywood calls attention to the shifting grounds of cultural expression by highlighting Hollywood as a site that unsettled definitions and narratives of colonialism and national identity. Drawn to Los Angeles for a variety of reasons that included everything from easy money, political disaffection, spiritual longing, and the Mediterranean climate, writers such as Aldous Huxley, Christopher Isherwood, Anthony Powell, J.B Priestly, Dodie Smith and Evelyn Waugh, and P.G. Wodehouse represent an incursion of expert settlers representing British culture and civilization. But instead of establishing themselves once again with a mission of colonial superiority, they soon found that their cultural power clashed with the commercially inviolable mass production of American popular culture. Lisa Colletta argues that the British experience in Southern California challenged traditional ideas of national identity and power and implicated them in a complex of choices and influences filtered through the Hollywood dream machine.

Vaudeville is often viewed as the source of some of the crude stereotypes that positioned the Irish immigrant in America as the antithesis of native-born American citizens. Using primary archival material, Mooney argues that the vaudeville stage was an important venue in which an Irish-American identity was constructed, negotiated, and refined.

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Due to the huge success of her graphic memoir Fun Home: A Family Tragicomic in 2006 and its subsequent Tony Award-winning musical adaptation in 2009, Alison Bechdel (b. 1960) has recently become a household name. However, Bechdel, who has won numerous awards including a MacArthur Fellowship, has been writing and drawing comics since the early 1980s. Her comic strip Dykes to Watch Out For (DTWOF) stood out as one of the first to depict lesbians in popular culture and is widely hailed as an essential LGBTQ resource. It is also from this comic strip that the wildly popular Bechdel Test-a test to gauge positive female representation in film-obtained its name. While DTWOF secured Bechdel's role in the comics world and queer community long before her mainstream success, Bechdel now experiences notoriety that few comics artists ever achieve and that women cartoonists have never attained. Spanning from 1990 to 2017, Alison Bechdel: Conversations collects ten interviews that illustrate how Bechdel uses her own life, relationships, and contemporary events to expose the world to what she has referred to as the ""fringes of acceptability""-the comics genre as well as queer culture and identity. These interviews reveal her intentionality in the use of characters, plots, structure, and cartooning to draw her readers toward disrupting the status quo. Starting with her earliest interviews on public access television and in little-known comics and queer presses, Rachel R. Martin traces Bechdel's career from her days with DTWOF to her popularity with Fun Home and Are You My Mother? This volume includes her ""one-off"" DTWOF strips from November 2016 and March 2017 (not anthologized anywhere else) and in-depth discussions of her laborious creative process as well as upcoming projects.

The quickest entry-point into most local cultures anywhere on earth is to be found in talking football. Historically, football is one of the great cultural institutions, and, like education and the mass media, has played a key role in shaping and cementing senses of national identity throughout the world. However, the nature of intra-nation hostility, which may be based in football or which may use the game as an arena for antagonisms, has yet to be analyzed. Football today is more global than ever before. Teams, clubs and regions increasingly establish cultural identities through rivalries and opposition. Such rivalries invariably have deep historical antecedents enforced by prejudice, myth or religious conflicts, economic inequalities, or, perhaps most profound, class and ethnic divisions.
Issues of disorder and violence are routine by-products of the game the world over, and aggression, or the threat of it, characterizes many matches both minor and major. In short, football at all levels can become a site for symbolizing and expressing a variety of tensions. This timely volume fills a gap in the current literature on sport as the most extensive and incisive collection yet published on issues relating to football around the world. It uncovers and investigates the conflicts apparent in football rivalry by gathering together a series of in-depth case studies that span the football world.

We all daydream and yet the purpose of waking fantasy, or episodes of conscious and private fiction-making, has never been really clarified. Instead, mainstream psychology characterises the daydream as task-distracted mind wandering, which does little to explain why people engage in creating fictions of often unrealizable proportions regularly for themselves, at times incidentally and at other times deliberately. This work overturns, re-organises and redefines established concepts of the role of waking fantasy in human life. It shows how the purpose of all fantasy is to transform mood states into specific emotional responses, a feature apparent in daydreams, sexual fantasies and even unconscious fantasy structures. Understanding how feeling states motivate fantasy explains why we daydream at all, how repetitive daydreams and sexual fantasies develop to elicit reliable emotional reactions, and even how we at times use and appropriate published or released fictional works to propagate our own fantasies. Along the way, the work explores the relation of waking fantasy to some of our buying practices, attachments to objects in early childhood, preferred genres of fiction and cultural phenomena such as the worship of celebrities.

This book deals with all the well-know piano, violin, and cello concertos and is illustrated with a wealth of musical examples.

Emotion Online: Theorizing Affect on the Internet takes stock of where we are emotionally with regards to the Internet in social and cultural terms. Online users are switching between personal, national, international and global modes of being and feeling that shape private and public experiences. Drawing upon the well-established discipline of media studies, the book travels theoretically through, across, in and between examples of traditional media as they merge and emerge online. Garde-Hansen and Gorton explore how we feel about, and how we feel in, our online media ecology in the context of global media platforms.

Do Irish superheroes actually sound Irish? Why are Gary Larson's Far Side cartoons funny? How do political cartoonists in India, Turkey, and the US get their point across? What is the impact of English on comics written in other languages? These questions and many more are answered in this volume, which brings together the two fields of comics research and linguistics to produce groundbreaking scholarship. With an international cast of contributors, the book offers novel insights into the role of language in comics, graphic novels, and single-panel cartoons, analyzing the intersections between the visual and the verbal. Contributions examine the relationship between cognitive linguistics and visual elements as well as interrogate the controversial claim about the status of comics as a language. The book argues that comics tell us a great deal about the sociocultural realities of language, exploring what code switching, language contact, dialect, and linguistic variation can tell us about identity - from the imagined and stereotyped to the political and real.

Superheroes such as Superman and Spider-Man have spread all over the world. As this edited volume shows, many national cultures have created or reimagined the idea of the superhero, while the realm of superheroes now contains many icons whose histories borrow from local folklore and legends. Consequently, the superhero needs reconsideration, to be regarded as part of both local and global culture as well as examined for the rich meanings that such broad origins and re-workings create. This collection stands out as the first concentrated attempt to think through the meanings and significance of the superhero, not only as a product of culture in the United States, but as a series of local, transnational, and global exchanges in popular media. Through analysis of mainly film, television, and computer screens, contributors offer three challenges to the idea of the ""American"" superhero: transnational reimagining of superhero culture, emerging local superheroes, and the use of local superheroes to undermine dominant political ideologies. The essays explore the shifting transnational meanings of Doctor Who, Thor, and the Phantom, as these characters are reimagined in world culture. Other chapters chart the rise of local superheroes from India, the Middle East, Thailand, and South Korea. These explorations demonstrate how far superheroes have traveled to inspire audiences worldwide.

Many fictional narratives produced in Brazil and Argentina borrow the tropes of postmodern science fiction, in particular the subgenre 'cyberpunk, ' to examine the shifting nature of power in neoliberal society. King examines how this phenomenon leads to a marshalling of national discourses toward a market-governed "control society" and explores new models of agency beyond that of the individual. Utilizing cultural theory to examine Argentine and Brazilian comics, digital technology, and literature, this book traces flows of culture and power in an increasingly globalized world.