Now in its third edition, this text examines how African Americans personally and culturally define themselves and how that definition informs their communication habits, practices, and norms. This edition includes new chapters that highlight discussions of gender and sexuality, intersectional differences, contemporary social movements, and digital and mediated communication. The book is ideally suited for advanced students and scholars in intercultural communication, interpersonal communication, communication theory, African American/Black studies, gender studies, and family studies.

Tyler Perry has become a significant figure in media due to his undeniable box office success led by his character Madea and popular TV sitcoms House of Payne and Meet the Browns. Perry built a multimedia empire based largely on his popularity among African American viewers and has become a prominent and dominant cultural storyteller. Along with Perry's success has come scrutiny by some social critics and Hollywood well-knowns, like Spike Lee, who have started to deconstruct the images in Perry's films and TV shows suggesting, as Lee did, that Perry has used his power to advance stereotypical depictions of African Americans. The book provides a rich and thorough overview of Tyler Perry's media works. In so doing, contributors represent and approach their analyses of Perry's work from a variety of theoretical and methodological angles. The main themes explored in the volume include the representation of (a) Black authenticity and cultural production, (b) class, religion, and spirituality, (c) gender and sexuality, and (d) Black love, romance, and family. Perry's critical acclaim is also explored.

Tyler Perry has become a significant figure in media due to his undeniable box office success led by his character Madea and popular TV sitcoms House of Payne and Meet the Browns. Perry built a multimedia empire based largely on his popularity among African American viewers and has become a prominent and dominant cultural storyteller. Along with Perry's success has come scrutiny by some social critics and Hollywood well-knowns, like Spike Lee, who have started to deconstruct the images in Perry's films and TV shows suggesting, as Lee did, that Perry has used his power to advance stereotypical depictions of African Americans. The book provides a rich and thorough overview of Tyler Perry's media works. In so doing, contributors represent and approach their analyses of Perry's work from a variety of theoretical and methodological angles. The main themes explored in the volume include the representation of (a) Black authenticity and cultural production, (b) class, religion, and spirituality, (c) gender and sexuality, and (d) Black love, romance, and family. Perry's critical acclaim is also explored.

For years, research concerning masculinities has explored the way that men have dominated, exploited, and dismantled societies, asking how we might make sense of marginalized masculinities in the context of male privilege. This volume asks not only how terms such as men and masculinity are socially defined and culturally instantiated, but also how the media has constructed notions of masculinity that have kept minority masculinities on the margins. Essays explore marginalized masculinities as communicated through film, television, and new media, visiting representations and marginalized identity politics while also discussing the dangers and pitfalls of a media pedagogy that has taught audiences to ignore, sidestep, and stereotype marginalized group realities. While dominant portrayals of masculine versus feminine characters pervade numerous television and film examples, this collection examines heterosexual and queer, military and civilian, as well as Black, Japanese, Indian, White, and Latino masculinities, offering a variance in masculinities and confronting male privilege as represented on screen, appealing to a range of disciplines and a wide scope of readers.

This volume offers a comprehensive survey of African-American rhetoric within a broad historical context, exploring the major cultural and theoretical issues in the field. The 19 original essays that make up the collection look at distinct African-American rhetorical traditions such as signifyin', playin'the dozens, and call-and-response from a non-Eurocentric perspective.

Now in its third edition, this text examines how African Americans personally and culturally define themselves and how that definition informs their communication habits, practices, and norms. This edition includes new chapters that highlight discussions of gender and sexuality, intersectional differences, contemporary social movements, and digital and mediated communication. The book is ideally suited for advanced students and scholars in intercultural communication, interpersonal communication, communication theory, African American/Black studies, gender studies, and family studies.

For years, research concerning masculinities has explored the way that men have dominated, exploited, and dismantled societies, asking how we might make sense of marginalized masculinities in the context of male privilege. This volume asks not only how terms such as men and masculinity are socially defined and culturally instantiated, but also how the media has constructed notions of masculinity that have kept minority masculinities on the margins. Essays explore marginalized masculinities as communicated through film, television, and new media, visiting representations and marginalized identity politics while also discussing the dangers and pitfalls of a media pedagogy that has taught audiences to ignore, sidestep, and stereotype marginalized group realities. While dominant portrayals of masculine versus feminine characters pervade numerous television and film examples, this collection examines heterosexual and queer, military and civilian, as well as Black, Japanese, Indian, White, and Latino masculinities, offering a variance in masculinities and confronting male privilege as represented on screen, appealing to a range of disciplines and a wide scope of readers.

One of the most popular shows to come out of Shondaland, Shonda Rhimes's production company, is ABC's political drama Scandal (2012-18)-a series whose tremendous success and marketing savvy led LA Times critic Mary McNamara to hail it as ""the show that Twitter built"" and Time magazine to name its protagonist as one of the most influential fictional characters of 2013. The series portrays a fictional Washington, DC, and features a diverse group of characters, racially and otherwise, who gather around the show's antiheroine, Olivia Pope, a powerful crisis manager who happens to have an extramarital affair with the president of the United States. For seven seasons, audiences learned a great deal about Olivia and those interwoven in her complex world of politics and drama, including her team of ""gladiators in suits,"" with whom she manages the crises of Washington's political elite. This volume, named for both Olivia's team and the show's fans, analyzes the communication, politics, stereotypes, and genre techniques featured in the television series while raising key questions about the intersections of race, gender, sexuality, and viewing audiences. The essays range from critical looks at various members of Scandal's ensemble, to in-depth analyses of the show's central themes, to audience reception studies via interviews and social media analysis. Additionally, the volume contributes to research on femininity, masculinity, and representations of black womanhood on television. Ultimately, this collection offers original and timely perspectives on what was one of America's most ""scandalous"" prime-time network television series.

One of the most popular shows to come out of Shondaland, Shonda Rhimes's production company, is ABC's political drama Scandal (2012–18)—a series whose tremendous success and marketing savvy led LA Times critic Mary McNamara to hail it as ""the show that Twitter built"" and Time magazine to name its protagonist as one of the most influential fictional characters of 2013. The series portrays a fictional Washington, DC, and features a diverse group of characters, racially and otherwise, who gather around the show's antiheroine, Olivia Pope, a powerful crisis manager who happens to have an extramarital affair with the president of the United States. For seven seasons, audiences learned a great deal about Olivia and those interwoven in her complex world of politics and drama, including her team of ""gladiators in suits,"" with whom she manages the crises of Washington's political elite. This volume, named for both Olivia's team and the show's fans, analyzes the communication, politics, stereotypes, and genre techniques featured in the television series while raising key questions about the intersections of race, gender, sexuality, and viewing audiences. The essays range from critical looks at various members of Scandal's ensemble, to in-depth analyses of the show's central themes, to audience reception studies via interviews and social media analysis. Additionally, the volume contributes to research on femininity, masculinity, and representations of black womanhood on television. Ultimately, this collection offers original and timely perspectives on what was one of America's most ""scandalous"" prime-time network television series.

Being Mara Brock Akil: Representations of Black Womanhood on Television examines the body of work of Mara Brock Akil, the showrunner who produced Girlfriends, The Game, Being Mary Jane, and Love Is__. The contributions to this volume are theoretically anchored in Patricia Hill Collin's Black Feminist Thought, with a focus on how Brock Akil's shows intentionally address Black humanity and specifically provide context for Black women's lived experiences and empathy for Black womanhood by featuring woman-centered characters with flaws, strength, and complexity. Shauntae Brown White and Kandace L. Harris have compiled a volume that analyzes themes that define Black womanhood and examines audience reception of and social media interaction with Brock Akil's work.

Being Mara Brock Akil: Representations of Black Womanhood on Television examines the body of work of Mara Brock Akil, the showrunner who produced Girlfriends, The Game, Being Mary Jane, and Love Is__. The contributions to this volume are theoretically anchored in Patricia Hill Collin's Black Feminist Thought, with a focus on how Brock Akil's shows intentionally address Black humanity and specifically provide context for Black women's lived experiences and empathy for Black womanhood by featuring woman-centered characters with flaws, strength, and complexity. Shauntae Brown White and Kandace L. Harris have compiled a volume that analyzes themes that define Black womanhood and examines audience reception of and social media interaction with Brock Akil's work.

"Black Pioneers in Communication Research is a pathbreaking book that displays a refreshingly joyful and critical spirit. Here, communication theory is shown to be the work of real persons living real lives, asking real questions of real problems. By celebrating and evaluating the lives of Black scholars as they have sought to advance communication studies, readers are introduced to perhaps the first truly foundational text our field has to offer! By tracing pioneers' life histories up to their current contributions to the field of communication, students will not simply be exposed to a concept and its definition, but rather invited to explore the evolution of both the concept and its progenitor. This illuminates and enlivens the study of communication while helping readers to be conscious of the conditions that have helped to shape our current state of knowledge. Black Pioneers in Communication Research is fully edifying: It lifts all communication scholars higher by being courageous enough to teach us as intellectuals that when we lay bare some of the intricacies of our lives, our students are better able to understand the complex canvases upon which our paradigms are built." --Eric King Watts, Wake Forest University Black Pioneers in Communication Research is the only book in the field of communication that-through personal interviews-systematically explores the lives, careers, and profound conceptual contributions of the men and women who have helped shape the contours of humanistic and social scientific inquiry within communication studies and beyond. The personal lives and careers of eleven leading scholars are profiled: Molefi Kete Asante, Donald E. Bogle, Hallie Quinn Brown, Melbourne S. Cummings, Jack L. Daniel, Oscar H. Gandy, Jr., Stuart Hall, Marsha Houston, Joni L. Jones/Iya Omi Osun Olomo, Dorthy L. Pennington, and Orlando L. Taylor. These pioneers have had an indelible impact on Black Studies, sociology, communication, political science, film studies, rhetoric, sociolinguistics, and cultural studies. Black Pioneers in Communication Research presents a penetrating look into the circumstances that shifted the paradigms of interdisciplinary thought. Some of the concepts covered in this book are afrocentricity, articulation theory, aphasia, oral performance and interpretation, womanism, Black English, Black oral traditions, the TrEE communication development model, chronemics, as well as the mammy, buck, mulatto, coon, and Uncle Tom images in film and television. Intended Audience:This is an excellent textbook for advanced undergraduate and graduate courses dealing with African American communication and/or communication research (such as intercultural communication, African American communication, African American studies, African American rhetoric, communication research, and communication theory~

Whiteness is often looked upon and equated with being American, but this book seeks to discover how other American voices and experiences have been and are excluded from the American legacy. It directly addresses the notion of self and human division in a cultural climate that has historically fostered the marginalization of multiple racial identities. This is an interdisciplinary work on understanding and promoting intercultural communication and will be of interest to students and scholars in the fields of communication, multicultural studies, social psychology, and sociology.

Winner of the 2014 Will Eisner Award for Best Scholarly/Academic Work Bringing together contributors from a wide-range of critical perspectives, Black Comics: Politics of Race and Representation is an analytic history of the diverse contributions of Black artists to the medium of comics. Covering comic books, superhero comics, graphic novels and cartoon strips from the early 20th century to the present, the book explores the ways in which Black comic artists have grappled with such themes as the Black experience, gender identity, politics and social media. Black Comics: Politics of Race and Representation introduces students to such key texts as: The work of Jackie Ormes Black women superheroes from Vixen to Black Panther Aaron McGruder's strip The Boondocks

Bringing together an array of interdisciplinary voices, Global Masculinities and Manhood examines the concept of masculinity from the perspectives of cultures around the world. In the era of globalization, masculinity continues to be studied in a Western-centric context. Contributors to this volume, however, deconstruct the history and politics of masculinities within the contexts of the cultures from which they have been developed, examining what makes a man who he is within his own culture. Highlighting manifestations of masculinity in countries including Jamaica, Turkey, Peru, Kenya, Australia, and China, scholars from a variety of disciplines grapple with the complex politics of identity and the question of how gender is interpreted and practiced through discourse. Topics include how masculinity is affected by war and conflict, defined in relation to race, ethnicity, and sexuality, and expressed in cultural activities such as sports or the cinema. Contributors are Bryant Keith Alexander, Molefi K. Asante, Murali Balaji, Maurice Hall, Ronald L. Jackson II, Shino Konishi, Nil Mutluer, Mich Nyawalo, Kathleen Glenister Roberts, Margarita Saona, and Kath Woodward.