Bücher der Reihe Routledge Research in Cultural and Media Studies

This collection by trans and non-trans academics and artists from the United States, the UK, and continental Europe, examines how transgenderism can be conceptualized in a literary, biographical, and autobiographical framework, with emphasis on place, ethnicity and visibility. The volume covers the 1950s to the present day and examines autobiographical accounts and films featuring gender transition. Chapters focus on various stages of transitioning. Interviews with trans people are also provided.

Contributors including David Hesmondhalgh, Gholam Khiabany, José van Dijck, Hector Postigo, Anthony Fung, Stuart Allan and Geoff King demonstrate how the notion of independence has remained paramount, but contested, in ideals of what the media is for, how it should be regulated, what it should produce and what working within it should be like. They address questions of economics, labor relations, production cultures, ideologies and social functions.

This book aims to revisit the notion of subculture for the 21st century, reinterpreting it and extending its scope.

This volume explores how advances in the fields of evolutionary neuroscience and cognitive psychology are informing media studies with a better understanding of how humans perceive, think and experience emotion within mediated environments. Moreover, as popular media shape perceptions of the promises and limits of brain science, contributors also examine the representation of neuroscience and cognitive psychology within mediated culture.

Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa.

This volume explores the relationship among beauty, violence, and representation in a broad range of artistic and cultural texts, including literature, visual art, theatre, film, and music.

This volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts.

The media have always played a central role in organising the way ideas flow through societies. But what happens when those ideas are disruptive to normal social relations? Bringing together work by scholars in history, media and cultural studies and sociology, this collection explores this role in more depth and with more attention paid to the complexities behind conventional analyses.¿Attention is paid to morality and regulation; empire and film; the role of women; authoritarianism; wartime and fears of treachery; and fears of cultural contamination.

This volume pursues a new line of research in cultural memory studies by understanding memory as a performative act in art and popular culture. Here authors combine a methodological focus on memory as performance with a theoretical focus on art and popular culture as practices of remembrance. The essays in the book thus analyze what is at stake in the complex processes of remembering and forgetting, of recollecting and disremembering, of amnesia and anamnesis, that make up cultural memory.

This book brings together for the first time David Morley and Charlotte Brunsdon's classic texts Everyday Television: Nationwide and The Nationwide Audience originally published in 1978 and 1980.

This book analyzes the challenges facing public service media management in the face of ongoing technological developments and changing audience behaviors. It connects models, strategies, concepts, and managerial theories with emerging approaches to public media practices.

This volume explores the converging properties of "Generation X" through the fields of literature, media studies, youth culture, popular culture, sociology, philosophy, feminism, and political science. It broadens critics¿ engagement with the "Generation X" label, tracing the global and local flows that determine the identity of each country¿s youth from the 1970s well into the twenty-first century.

Covering diverse themes such as intellectual property, media and architecture, satellite debris, server farms and search engines, art installations, surveillance, peer-to-peer file-sharing, the construction of techno-history and much more, this book discusses both the culture of technology that we live in today, and culture as technology.

This book examines the ways in which writers¿ houses contribute to the making of memory. It shows that houses built or inhabited by poets and novelists both reflect and construct the author¿s private and artistic persona; it also demonstrates how this materialized process of self-fashioning is subsequently appropriated within various strategies and policies of cultural memory.

This book traces the uneven history of queer media visibility through crucial turning points including the Hollywood Production Code era, the AIDS crisis of the 1980s, the so-called explosion of gay visibility on television during the1990s, and the re-imagination of queer representations on TV after the events of 9/11. Kohnen intervenes in previous academic and popular accounts that paint the increase in queer visibility over the past four decades as a largely progressive development. She examines how and why a limited and limiting concept of queer visibility structured around white gay and lesbian characters in committed relationships has become the embodiment of progressive LGBT media representations. She also investigates queer visibility across film, TV, and print media, and highlights previously unexplored connections, such as the lingering traces of classical Hollywood cinema's queer tropes in the X-Men franchise. Across all chapters, narratives and arguments emerge that demonstrate how queer visibility shapes and reflects not only media representations, but the real and imagined geographies, histories, and people of the American nation.

This collection seeks to understand the long-lasting and global appeal of Tarzan: Why is a story about a feral boy, who is raised by apes in the African jungle, so compelling and so adaptable to different cultural contexts and audiences? How is it that the same narrative serves as the basis for both children¿s cartoons and lavish musical productions or as a vehicle for both nationalistic discourse and for light romantic fantasy? Considering a history of criticism that highlights the imperialistic, sexist, racist underpinnings of the original Tarzan narrative, why would this character and story appeal to so many readers and viewers around the world? The essays in this volume, written by scholars living and working in Australia, Canada, Israel, The Netherlands, Germany, France and the United States explore these questions using various critical lenses. Chapters include discussions of Tarzan novels, comics, television shows, toys, films, and performances produced or distributed in the U.S., Canada, Israel, Palestine, Britain, India, The Netherlands, Germany and France and consider such topics as imperialism, national identities, language acquisition, adaptation, gender constructions, Tarzan¿s influence on child readers and Tarzan¿s continued and broad influence on cultures around the world. What emerges, when these pieces are placed into dialogue with one another, is an immensely complex picture of an enduring, multi-faceted global pop culture icon.

This international, interdisciplinary edited collection explores a range of possible theoretical and empirical approaches to cultural technologies and mobile communication via the use of the iPhone as a case study.