Bücher von Michelle Phillipov

This book explores the new theoretical and political questions raised by food TV's digital transformation.Bringing together analyses of food media texts and platform infrastructures-from streaming and catch-up TV to YouTube and Facebook food videos-it shows how new textual conventions, algorithmic practices, and market logics have redrawn the boundaries of food TV and altered the cultural place of food, and food media, in a digital era. With case studies of new and rerun television and emerging online genres, Digital Food TV considers what food television means at the current moment-a time when on-screen digital content is rapidly proliferating and televisual platforms and technologies are undergoing significant change.This book will appeal to students and scholars of food studies, television studies, and digital media studies.

This volume is the first to combine textual analysis of food media texts with interviews with media production staff, reality TV contestants, celebrity chefs, and food producers and retailers across the artisan-conventional spectrum.

Death metal is one of popular musics most extreme variants, and is typically viewed as almost monolithically nihilistic, misogynistic, and reactionary. Studies tend to view the music as a reflection of these listeners social conditions and are concerned with metals pleasures so long as these can be seen within that context: as responses to cultural and economic circumstances.Michelle Phillipovs Death Metal and Music Criticism: Analysis at the Limits, in contract, offers an account of listening pleasure on its own terms. Through an analysis of death metals sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the real lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a technical or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either progressive or reactionary. By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipovs Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listeningit also offers some important starting points for a rethinking of popular music scholarship as a whole.