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This volume investigates the perception of threat, with particular
regard to the roles, functions, and agencies of various types of
media. With a focus on the profound impact of the terrorist attacks
on September 11, 2001 on the US-American political, social, and
cultural order, the chapters reach from the early days after the
attacks up to the 2016 election of Donald J. Trump. An
international team of contributors analyze how the perceived
threats and their subsequent representations changed during this
period and what part different forms of media - media institutions,
media technologies, and media formats - played within these
transformations. Media theoretical perspectives are thus combined
with historical approaches to examine the "re-ordering" of the
nation, the state, and society proposed in an increasingly
converging, multimodal, and networked media environment. This
book's focus on the interrelation between Media Studies, Cultural
Studies, and American Studies makes it an indispensable landmark
for fields such as Historical Research, Media Theory, Narratology,
and Popular Culture Studies.
This volume investigates the perception of threat, with particular
regard to the roles, functions, and agencies of various types of
media. With a focus on the profound impact of the terrorist attacks
on September 11, 2001 on the US-American political, social, and
cultural order, the chapters reach from the early days after the
attacks up to the 2016 election of Donald J. Trump. An
international team of contributors analyze how the perceived
threats and their subsequent representations changed during this
period and what part different forms of media - media institutions,
media technologies, and media formats - played within these
transformations. Media theoretical perspectives are thus combined
with historical approaches to examine the "re-ordering" of the
nation, the state, and society proposed in an increasingly
converging, multimodal, and networked media environment. This
book's focus on the interrelation between Media Studies, Cultural
Studies, and American Studies makes it an indispensable landmark
for fields such as Historical Research, Media Theory, Narratology,
and Popular Culture Studies.
This volume aims to intensify the interdisciplinary dialogue on
comics and related popular multimodal forms (including manga,
graphic novels, and cartoons) by focusing on the concept of medial,
mediated, and mediating agency. To this end, a theoretically and
methodologically diverse set of contributions explores the
interrelations between individual, collective, and institutional
actors within historical and contemporary comics cultures. Agency
is at stake when recipients resist hegemonic readings of multimodal
texts. In the same manner, "authorship" can be understood as the
attribution of agency of and between various medial instances and
roles such as writers, artists, colorists, letterers, or editors,
as well as with regard to commercial rights holders such as
publishing houses or conglomerates and reviewers or fans. From this
perspective, aspects of comics production (authorship and
institutionalization) can be related to aspects of comics reception
(appropriation and discursivation), and circulation (participation
and canonization), including their potential for transmedialization
and making contributions to the formation of the public sphere.
This book examines the figure of the sleeper agent as part of
post-9/11 political, journalistic and fictional discourse. There is
a tendency to discuss the terroristic threat after 9/11 as either a
faraway enemy to be hunted down by military force or, on the other
hand, as a ubiquitous, intangible threat that required constant
alertness at home. The missing link between these two is the
sleeper agent - the foreign enemy hiding among US citizens. By
analyzing popular television shows, several US comic books, and a
broad variety of Hollywood films that depict sleeper agents direct
or allegorically, this book explores how a shift in
perspective-from terrorist to sleeper agent-brings new insights
into our understanding of post-9/11 representations of terrorism.
The book's interdisciplinary focus between media studies, cultural
studies, and American studies, suggests that it will find an
audience in a variety of fields, including historical research,
narratology, popular culture, as well as media and terrorism
studies.
The volume addresses the matter of participatory media practices as
playful appropriations within current digital media culture and
artistic research. The aim is to explore and trace the shifting
boundaries between media production and media use, and to develop
concepts and methodologies that work within participatory media
cultures. Therefore the articles explore and establish nuanced
approaches to the oftentimes playful practices associated with the
appropriation of technology.
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