For over a decade, Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed ""mad black woman,"" not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week. Is the commercially successful African American actor, director, screenwriter, playwright, and producer ""malt liquor for the masses,"" an ""embarrassment to the race!,"" or is he a genius who has directed the most culturally significant American melodramas since Douglas Sirk? Are his films and television shows even melodramas, or are they conservative Christian diatribes, cheeky camp, or social satires? Do Perry's flattened narratives and character tropes irresponsibly collapse important social discourses into one-dimensional tales that affirm the notion of a ""post-racial"" society?In light of these debates, From Madea to Media Mogul makes the argument that Tyler Perry must be understood as a figure at the nexus of converging factors, cultural events, and historical traditions. Contributors demonstrate how a critical engagement with Perry's work and media practices highlights a need for studies to grapple with developing theories and methods on disreputable media. These essays challenge value-judgment criticisms and offer new insights on the industrial and formal qualities of Perry's work.

For over a decade, Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed ""mad black woman,"" not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week. Is the commercially successful African American actor, director, screenwriter, playwright, and producer ""malt liquor for the masses,"" an ""embarrassment to the race!,"" or is he a genius who has directed the most culturally significant American melodramas since Douglas Sirk? Are his films and television shows even melodramas, or are they conservative Christian diatribes, cheeky camp, or social satires? Do Perry's flattened narratives and character tropes irresponsibly collapse important social discourses into one-dimensional tales that affirm the notion of a ""post-racial"" society? In light of these debates, From Madea to Media Mogul makes the argument that Tyler Perry must be understood as a figure at the nexus of converging factors, cultural events, and historical traditions. Contributors demonstrate how a critical engagement with Perry's work and media practices highlights a need for studies to grapple with developing theories and methods on disreputable media. These essays challenge value-judgment criticisms and offer new insights on the industrial and formal qualities of Perry's work.

Recent years have seen an increase in public attention to identity and representation in video games, including journalists and bloggers holding the digital game industry accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged far behind. Gaming Representation examines portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, the contributors to this volume push gaming scholarship to new levels of inquiry, theorizing, and imagination.

Blackness Is Burning is one of the first books to examine the ways race and psychological rhetoric collided in the public and popular culture of the civil rights era. In analyzing a range of media forms, including Sidney Poitier's popular films, black mother and daughter family melodramas, Bill Cosby's comedy routine and cartoon Fat Albert, pulpy black pimp narratives, and several aspects of post- civil rights black/American culture, TreaAndrea M. Russworm identifies and problematizes the many ways in which psychoanalytic culture has functioned as a governing racial ideology that is built around a flawed understanding of trying to ""recognize"" the racial other as human. The main argument of Blackness Is Burning is that humanizing, or trying to represent in narrative and popular culture that #BlackLivesMatter, has always been a barely attainable and impossible to sustain cultural agenda. But Blackness Is Burning makes two additional interdisciplinary interventions: the book makes a historical and temporal intervention because Russworm is committed to showing the relationship between civil rights discourses on theories of recognition and how we continue to represent and talk about race today. The book also makes a formal intervention since the chapter-length case studies take seemingly banal popular forms seriously. She argues that the popular forms and disreputable works are integral parts of our shared cultural knowledge. Blackness Is Burning's interdisciplinary reach is what makes it a vital component to nearly any scholar's library, particularly those with an interest in African American popular culture, film and media studies, or psychoanalytic theory.

Recent years have seen an increase in public attention to identity and representation in video games, including journalists and bloggers holding the digital game industry accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged far behind. Gaming Representation examines portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, the contributors to this volume push gaming scholarship to new levels of inquiry, theorizing, and imagination.