From the perspective of cultural conservatives, Hollywood movies are cesspools of vice, exposing impressionable viewers to pernicious sexually-permissive messages. Offering a groundbreaking study of Hollywood films produced since 2000, Abstinence Cinema comes to a very different conclusion, finding echoes of the evangelical movement's abstinence-only rhetoric in everything from Easy A to Taken. Casey Ryan Kelly tracks the surprising sex-negative turn that Hollywood films have taken, associating premarital sex with shame and degradation, while romanticizing traditional nuclear families, courtship rituals, and gender roles. As he demonstrates, these movies are particularly disempowering for young women, concocting plots in which the decision to refrain from sex until marriage is the young woman's primary source of agency and arbiter of moral worth. Locating these regressive sexual politics not only in expected sites, like the Twilight films, but surprising ones, like the raunchy comedies of Judd Apatow, Kelly makes a compelling case that Hollywood films have taken a significant step backward in recent years. Abstinence Cinema offers close readings of movies from a wide spectrum of genres, and it puts these films into conversation with rhetoric that has emerged in other arenas of American culture. Challenging assumptions that we are living in a more liberated era, the book sounds a warning bell about the powerful cultural forces that seek to demonize sexuality and curtail female sexual agency.

As survivors of genocide, mnemonicide, colonization, and forced assimilation, American Indians face a unique set of rhetorical exigencies in US public culture. Decolonizing Native American Rhetoric brings together critical essays on the cultural and political rhetoric of American indigenous communities, including essays on the politics of public memory, culture and identity controversies, stereotypes and caricatures, mascotting, cinematic representations, and resistance movements and environmental justice. This volume brings together recognized scholars and emerging voices in a series of critical projects that question the intersections of civic identity, including how American indigenous rhetoric is complicated by or made more dynamic when refracted through the lens of gender, race, class, and national identity. The authors assembled in this project employ a variety of rhetorical methods, theories, and texts committed to the larger academic movement toward the decolonization of Western scholarship. This project illustrates the invaluable contributions of American Indian voices and perspectives to the study of rhetoric and political communication.

The Political Language of Food addresses why the language used in the production, marketing, selling, and consumption of food is inherently political. Food language is rarely neutral and is often strategically vague, which tends to serve the interests of powerful entities.Boerboom and his contributors critique the language of food-based messages and examine how such language-including idioms, tropes, euphemisms, invented terms, etc.-serves to both mislead and obscure relationships between food and the resulting community, health, labor, and environmental impacts. Employing diverse methodologies, the contributors examine on a micro-level the textual and rhetorical elements of food-based language itself. The Political Language of Food is both timely and important and will appeal to scholars of media studies, political communication, and rhetoric.

Food Television and Otherness in the Age of Globalization examines the growing popularity of food and travel television and its implications for how we understand the relationship between food, place, and identity. Attending to programs such as Bizarre Foods, Bizarre Foods America, The Pioneer Woman, Diners, Drive-Ins, and Dives, Man vs. Food, and No Reservations, Casey Ryan Kelly critically examines the emerging rhetoric of culinary television, attending to how American audiences are invited to understand the cultural and economic significance of global foodways. This book shows how food television exoticizes foreign cultures, erases global poverty, and contributes to myths of American exceptionalism. It takes television seriously as a site for the reproduction of cultural and economic mythology where representations of food and consumption become the commonsense of cultural difference and economic success.

From the perspective of cultural conservatives, Hollywood movies are cesspools of vice, exposing impressionable viewers to pernicious sexually-permissive messages. Offering a groundbreaking study of Hollywood films produced since 2000, Abstinence Cinema comes to a very different conclusion, finding echoes of the evangelical movement's abstinence-only rhetoric in everything from Easy A to Taken. Casey Ryan Kelly tracks the surprising sex-negative turn that Hollywood films have taken, associating premarital sex with shame and degradation, while romanticizing traditional nuclear families, courtship rituals, and gender roles. As he demonstrates, these movies are particularly disempowering for young women, concocting plots in which the decision to refrain from sex until marriage is the young woman's primary source of agency and arbiter of moral worth. Locating these regressive sexual politics not only in expected sites, like the Twilight films, but surprising ones, like the raunchy comedies of Judd Apatow, Kelly makes a compelling case that Hollywood films have taken a significant step backward in recent years. Abstinence Cinema offers close readings of movies from a wide spectrum of genres, and it puts these films into conversation with rhetoric that has emerged in other arenas of American culture. Challenging assumptions that we are living in a more liberated era, the book sounds a warning bell about the powerful cultural forces that seek to demonize sexuality and curtail female sexual agency.

In a surveillance culture, the ubiquity of audio-visual recording devices has enabled the unprecedented documentation of private indiscretions, scandalous conversations, and obscene behaviors performed by both ordinary and high-profile people. From former President Donald J. Trump's lewd banter on the infamous Access Hollywood video and leaked audio of celebrity racist tirades to outburst of violent hate speech posted daily to YouTube, contemporary media culture is awash in obscene performances of transgressive white masculinity. Such exposés are screened and viewed under the assumption that revealing secret prejudices will necessarily realize the promises of democracy and bring about a postracial and postfeminist future. This book addresses why the culture of public revelations has failed to hold the perpetrators accountable. Caught on Tape illustrates how public revelations constitute a symbolic and imaginary world for the public that is preoccupied with the obscene enjoyment of transgressive white masculinity: a compulsively repetitive experience of ecstatic and excessive pleasure-in-pain that arises from encounters with that which disturbs, traumatizes, and interrupts illusory notions of our coherent selves and reality. Caught on Tape argues that addressing race and gender inequality with the promise of scandalous hot mics and obscene private videos transforms antiracism and gender justice into disempowering forms of spectatorship that ultimately conceal the structural nature of whiteness, white supremacy, and patriarchy. The central argument of this book is that the spectators are the ones really caught on tape.

The Political Language of Food addresses why the language used in the production, marketing, selling, and consumption of food is inherently political. Food language is rarely neutral and is often strategically vague, which tends to serve the interests of powerful entities.Boerboom and his contributors critique the language of food-based messages and examine how such language-including idioms, tropes, euphemisms, invented terms, etc.-serves to both mislead and obscure relationships between food and the resulting community, health, labor, and environmental impacts. Employing diverse methodologies, the contributors examine on a micro-level the textual and rhetorical elements of food-based language itself. The Political Language of Food is both timely and important and will appeal to scholars of media studies, political communication, and rhetoric.

Race and Hegemonic Struggle in the United States: Pop Culture, Politics, and Protest is a collection of essays that draws on concepts developed by Antonio Gramsci to examine the imagining of race in popular culture productions, political discourses, and resistance rhetoric. The essays in this volume collectively call for renewed attention to Gramscian political thought to examine, understand, and explain the continued contradictions, ambivalence, and paradoxes surrounding the representations and realities of race in America as we make our way through the new millennium. The book s contributors rely on Gramsci s ideas to explore how popular, political, and resistant discourses reproduce or transform our understandings of race and racism, social inequalities, and power relationships in the twentieth and early twenty-first centuries. Together the chapters confront forms of collective and cultural amnesia about race and racism suggested in the phrases postrace, postracial, and postracism while exposing the historical, institutional, social, and political forces and constraints that make antiracism, atonement, and egalitarian change so difficult to achieve."

As survivors of genocide, mnemonicide, colonization, and forced assimilation, American Indians face a unique set of rhetorical exigencies in US public culture. Decolonizing Native American Rhetoric brings together critical essays on the cultural and political rhetoric of American indigenous communities, including essays on the politics of public memory, culture and identity controversies, stereotypes and caricatures, mascotting, cinematic representations, and resistance movements and environmental justice. This volume brings together recognized scholars and emerging voices in a series of critical projects that question the intersections of civic identity, including how American indigenous rhetoric is complicated by or made more dynamic when refracted through the lens of gender, race, class, and national identity. The authors assembled in this project employ a variety of rhetorical methods, theories, and texts committed to the larger academic movement toward the decolonization of Western scholarship. This project illustrates the invaluable contributions of American Indian voices and perspectives to the study of rhetoric and political communication.

Food Television and Otherness in the Age of Globalization examines the growing popularity of food and travel television and its implications for how we understand the relationship between food, place, and identity. Attending to programs such as Bizarre Foods, Bizarre Foods America, The Pioneer Woman, Diners, Drive-Ins, and Dives, Man vs. Food, and No Reservations, Casey Ryan Kelly critically examines the emerging rhetoric of culinary television, attending to how American audiences are invited to understand the cultural and economic significance of global foodways. This book shows how food television exoticizes foreign cultures, erases global poverty, and contributes to myths of American exceptionalism. It takes television seriously as a site for the reproduction of cultural and economic mythology where representations of food and consumption become the commonsense of cultural difference and economic success.

In a surveillance culture, the ubiquity of audio-visual recording devices has enabled the unprecedented documentation of private indiscretions, scandalous conversations, and obscene behaviors performed by both ordinary and high-profile people. From former President Donald J. Trump's lewd banter on the infamous Access Hollywood video and leaked audio of celebrity racist tirades to outburst of violent hate speech posted daily to YouTube, contemporary media culture is awash in obscene performances of transgressive white masculinity. Such exposés are screened and viewed under the assumption that revealing secret prejudices will necessarily realize the promises of democracy and bring about a postracial and postfeminist future. This book addresses why the culture of public revelations has failed to hold the perpetrators accountable. Caught on Tape illustrates how public revelations constitute a symbolic and imaginary world for the public that is preoccupied with the obscene enjoyment of transgressive white masculinity: a compulsively repetitive experience of ecstatic and excessive pleasure-in-pain that arises from encounters with that which disturbs, traumatizes, and interrupts illusory notions of our coherent selves and reality. Caught on Tape argues that addressing race and gender inequality with the promise of scandalous hot mics and obscene private videos transforms antiracism and gender justice into disempowering forms of spectatorship that ultimately conceal the structural nature of whiteness, white supremacy, and patriarchy. The central argument of this book is that the spectators are the ones really caught on tape.