A collaboration of political activism and participatory culture seeking to upend consumer capitalism, including interviews with The Yes Men, The Guerrilla Girls, among others. Coined in the 1980s, "culture jamming" refers to an array of tactics deployed by activists to critique, subvert, and otherwise "jam" the workings of consumer culture. Ranging from media hoaxes and advertising parodies to flash mobs and street art, these actions seek to interrupt the flow of dominant, capitalistic messages that permeate our daily lives. Employed by Occupy Wall Street protesters and the Russian feminist punk band Pussy Riot alike, culture jamming scrambles the signal, injects the unexpected, and spurs audiences to think critically and challenge the status quo. The essays, interviews, and creative work assembled in this unique volume explore the shifting contours of culture jamming by plumbing its history, mapping its transformations, testing its force, and assessing its efficacy. Revealing how culture jamming is at once playful and politically transgressive, this accessible collection explores the degree to which culture jamming has fulfilled its revolutionary aims. Featuring original essays from prominent media scholars discussing Banksy and Shepard Fairey, foundational texts such as Mark Dery's culture jamming manifesto, and artwork by and interviews with noteworthy culture jammers including the Guerrilla Girls, The Yes Men, and Reverend Billy, Culture Jamming makes a crucial contribution to our understanding of creative resistance and participatory culture.

Accolades such as "the best TV show of the twentieth century" or "the longest-running scripted series on American prime-time television" have elevated The Simpsons to the pop culture pantheon, while also suggesting the very vintage character of the program. But the label "The Simpsons" refers not just to a show that seems to belong to a bygone television era, it implies a rich narrative universe, including a set of iconic figures, familiar across continents and generations. Through the lens of transmedia studies, Understanding The Simpsons traces the franchise's trajectory, exploring how one of the most popular comedy series of all time has redefined the intersections between corporate media and participatory culture, as the kernel of its cult meaning.

From its crudely drawn vignettes on The Tracey Ullman Show to its nearly 700 episodes, The Simpsons has evolved from an alternative programming experiment to a worldwide cultural phenomenon. At 30 seasons and counting, The Simpsons boasts the distinction as the longest-running fictional primetime series in the history of American television. Broadcast around the globe, the show's viewers relate to a plethora of iconic characters-from Homer, Marge, Lisa, Maggie, and Bart to Kwik-E-Mart proprietor Apu, bar owner Moe, school principal Seymour Skinner, and conniving businessman Montgomery Burns, among many others. In The Simpsons: A Cultural History, Moritz Fink explores the show's roots, profiles its most popular characters, and examines the impact the series has had-not only its shaping of American culture but its pivotal role in the renaissance of television animation. Fink traces the show's comic forerunners-dating back to early twentieth century comic strips as well as subversive publications like Mad magazine-and examines how the show, in turn, generated a new wave of animation that changed the television landscape. Drawing on memorable scenes and providing useful background details, this book combines cultural analysis with intriguing trivia. In addition to an appreciation of the show's landmark episodes, The Simpsons: A Cultural History offers an entertaining discussion of the series that will appeal to both casual fans and devoted aficionados of this groundbreaking program.

Der Urheber hat das Recht "sein Werk" "zu verwerten“. Umfasst dieses Recht neben Nutzungshandlungen an identischen Gestaltungen auch solche an veränderten Gestaltungen? Welche Tatbestandsmerkmale in den Verwertungsrechten entscheiden darüber? Und wie sind sie auszulegen? Moritz Finke untersucht den Normtext der deutschen sowie europäische Verwertungsrechte. Dabei schlägt er eine Auslegung des Regelungsumfangs der Verwertungsrechte vor, die hinsichtlich der Verwertung veränderter Gestaltungen maßgeblich vom ontologischen Verständnis des Merkmals "Werk" abhängt und einem darauf aufbauenden Konzept, wann jemand Urheber eines "Werkes" ist. Auf dieser Basis diskutiert er, welche Entität in den Verwertungsrechten mit dem "Werk" eines Urhebers gemeint ist. Daneben werden auch Rechtsfolgen und Systematik der Verwertungsrechte an veränderten Gestaltungen untersucht.

A collaboration of political activism and participatory culture seeking to upend consumer capitalism, including interviews with The Yes Men, The Guerrilla Girls, among others. Coined in the 1980s, "culture jamming" refers to an array of tactics deployed by activists to critique, subvert, and otherwise "jam" the workings of consumer culture. Ranging from media hoaxes and advertising parodies to flash mobs and street art, these actions seek to interrupt the flow of dominant, capitalistic messages that permeate our daily lives. Employed by Occupy Wall Street protesters and the Russian feminist punk band Pussy Riot alike, culture jamming scrambles the signal, injects the unexpected, and spurs audiences to think critically and challenge the status quo. The essays, interviews, and creative work assembled in this unique volume explore the shifting contours of culture jamming by plumbing its history, mapping its transformations, testing its force, and assessing its efficacy. Revealing how culture jamming is at once playful and politically transgressive, this accessible collection explores the degree to which culture jamming has fulfilled its revolutionary aims. Featuring original essays from prominent media scholars discussing Banksy and Shepard Fairey, foundational texts such as Mark Dery's culture jamming manifesto, and artwork by and interviews with noteworthy culture jammers including the Guerrilla Girls, The Yes Men, and Reverend Billy, Culture Jamming makes a crucial contribution to our understanding of creative resistance and participatory culture.

When evil clowns menace the screen, do we scream or laugh? When zombies converge to tear a victim limb from limb, do we cringe and hide our eyes, or shriek "What??! Play that again!!"? What about those instances when these seemingly opposite reactions happen at once? This is the phenomenon known as sLaughter. Horrific Humor and the Moment of Droll Grimness in Cinema: Sidesplitting sLaughter presents the first focused look at the moment in audience reception where screams and laughter collide. John A. Dowell and Cynthia J. Miller bring together twelve essays from an international collection of authors across the disciplines. The volume begins with an examination of the aesthetics and mechanics of the sLaughter moment, then moves closer to look at the impact of its awkward frission of humor and horror on the individual viewer, and finally, broadens its lens to explore sLaughter's implications for the human condition more generally. The chapters discuss such box office hits such as A Clockwork Orange (1971), Fargo (1996), The Dark Knight (2008), and The Cabin in the Woods (2012), as well as cult classics such as The Toxic Avenger (1984) and Dead Snow (2009). Engaging and thought provoking, Horrific Humor and the Moment of Droll Grimness in Cinema will be of great interest to scholars of both humor and horror, as well as to those working in reception studies and fans of cult cinema.