U2's ongoing popular appeal is constructed in the spaces between band and fan, commercialism and community, spirituality and nihilism; finding meaning in a surface-oriented popular culture and contradiction in the depths of political and faith-based institutions. The band's long-term success and continued relevance is a result of their ability to hold these energies in tension without one subsuming the other-to live in the liminal space that such contradictions invite. U2's mythic trajectory was born from a bygone electronic era, realized in our current digital era but with an eye on the forthcoming virtual era; it is a new myth for the whole world, found in the most unlikely of places, popular culture. This book approaches the band's mythic trajectory through a combination of rhetorical analysis and autoethnographic explorations that unveil the more personal experiences most of us have with media. Drawing heavily upon the works of Marshal McLuhan, Joseph Campbell, Thomas S. Frentz, and Janice Hocker Rushing, Myth, Fan Culture, and the Popular Appeal of Liminality in the Music of U2 unpacks U2's popular appeal through the lenses of Agape (spiritual, communal love), Amor (romantic love), and Eros (erotic love). Check out the book's official website for additional information: https//:www.u2mythos.com

This book represents an illustrated, critical analysis of filmmaker Oliver Stone and his works, placing him in the tradition of American political artists. Oliver Stone-polemicist, leftist, artist, and-surprisingly for politically conservative America-mainstream director-is one of the most controversial American filmmakers in Hollywood. His films i

U2's ongoing popular appeal is constructed in the spaces between band and fan, commercialism and community, spirituality and nihilism; finding meaning in a surface-oriented popular culture and contradiction in the depths of political and faith-based institutions. The band's long-term success and continued relevance is a result of their ability to hold these energies in tension without one subsuming the other-to live in the liminal space that such contradictions invite. U2's mythic trajectory was born from a bygone electronic era, realized in our current digital era but with an eye on the forthcoming virtual era; it is a new myth for the whole world, found in the most unlikely of places, popular culture. This book approaches the band's mythic trajectory through a combination of rhetorical analysis and autoethnographic explorations that unveil the more personal experiences most of us have with media. Drawing heavily upon the works of Marshal McLuhan, Joseph Campbell, Thomas S. Frentz, and Janice Hocker Rushing, Myth, Fan Culture, and the Popular Appeal of Liminality in the Music of U2 unpacks U2's popular appeal through the lenses of Agape (spiritual, communal love), Amor (romantic love), and Eros (erotic love).

"An interesting, freshly developed, original theme on the hero quest as reflected in the movies. It gives us much new room for thought about our most basic assumptions."--Oliver Stone In contemporary America, myths find expression primarily in film. What's more, many of the highest-grossing American movies of the past several decades have been rooted in one of the most fundamental mythic narratives, the hero quest. Why is the hero quest so persistently renewed and retold? In what ways does this universal myth manifest itself in American cinema? And what is the significance of the popularity of these modern myths? "The Hero and the Perennial Journey Home in American Film" by Susan Mackey-Kallis is an exploration of the appeal of films that recreate and reinterpret this mythic structure. She closely analyzes such films as E.T., the Star Wars trilogy, It's a Wonderful Life, The Wizard of Oz, The Lion King, Field of Dreams, The Piano, Thelma and Louise, and 2001: A Space Odyssey. Elements of the quest mythology made popular by Joseph Campbell, Homer's Odyssey, the perennial philosophy of Aldous Huxley, and Jungian psychology all contribute to the compelling interpretive framework in which Mackey-Kallis crafts her study. She argues that the purpose of the hero quest is not limited to the discovery of some boon or Holy Grail, but also involves finding oneself and finding a home in the universe. The home that is sought is simultaneously the literal home from which the hero sets out and the terminus of the personal growth he or she undergoes during the journey back. Thus the quest, Mackey-Kallis asserts, is an outward journey into the world of action and events which eventually requires a journey inward if the hero is to grow, and ultimately necessitates a journey homeward if the hero is to understand the grail and share it with the culture at large. Finally, she examines the value of mythic criticism and addresses questions about myth currently being debated in the field of communication studies.