Brian L. Ott – författare

The Twitter Presidency explores the rhetorical style of President Donald J. Trump, attending to both his general manner of speaking as well as to his preferred modality. Trump’s manner, the authors argue, reflects an aesthetics of white rage, and it is rooted in authoritarianism, narcissism, and demagoguery. His preferred modality of speaking, namely through Twitter, effectively channels and transmits the affective dimensions of white rage by taking advantage of the platform’s defining characteristics, which include simplicity, impulsivity, and incivility. There is, then, a structural homology between Trump’s general communication practices and the specific platform (Twitter) he uses to communicate with his base. This commonality between communication practices and communication platform (manner and modality) struck a powerful emotive chord with his followers, who feel aggrieved at the decentering of white masculinity. In addition to charting the defining characteristics of Trump’s discourse, The Twitter Presidency exposes how Trump’s rhetorical style threatens democratic norms, principles, and institutions.

The Twitter Presidency explores the rhetorical style of President Donald J. Trump, attending to both his general manner of speaking as well as to his preferred modality. Trump’s manner, the authors argue, reflects an aesthetics of white rage, and it is rooted in authoritarianism, narcissism, and demagoguery. His preferred modality of speaking, namely through Twitter, effectively channels and transmits the affective dimensions of white rage by taking advantage of the platform’s defining characteristics, which include simplicity, impulsivity, and incivility. There is, then, a structural homology between Trump’s general communication practices and the specific platform (Twitter) he uses to communicate with his base. This commonality between communication practices and communication platform (manner and modality) struck a powerful emotive chord with his followers, who feel aggrieved at the decentering of white masculinity. In addition to charting the defining characteristics of Trump’s discourse, The Twitter Presidency exposes how Trump’s rhetorical style threatens democratic norms, principles, and institutions.

Since first going on the air in 1972, HBO has continually attempted to redefine television as we know it. Today, pay television (and HBO in particular) is positioned as an alternative to network offerings, consistently regarded as the premier site for what has come to be called "quality television."This collection of new essays by an international group of media scholars argues that HBO, as part of the leading edge of television, is at the center of television studies’ interests in market positioning, style, content, technology, and political economy. The contributors focus on pioneering areas of analysis and new critical approaches in television studies today, highlighting unique aspects of the "HBO effect" to explore new perspectives on contemporary television from radical changes in technology to dramatic shifts in viewing habits.It’s Not TV provides fresh insights into the "post-television network" by examining HBO’s phenomenally popular and pioneering shows, including The Sopranos, The Wire, Six Feet Under, Sex and the City as well as its failed series, such as K Street and The Comeback. The contributors also explore the production process itself and the creation of a brand commodity, along with HBO’s place as a market leader and technological innovator.Contributors: Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia, Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo, Lisa WilliamsonForeword by Toby MillerMarc Leverette is Assistant Professor of Media Studies at Colorado State University. He is author of Professional Wrestling, the Myth, the Mat, and American Popular Culture and co-editor of Zombie Culture: Autopsies of the Living Dead and Oh My God, They Deconstructed South Park! Those Bastards!Brian L. Ott is Associate Professor of Media Studies at Colorado State University. He is author of The Small Screen: How Television Equips Us to Live in the Information Age.Cara Louise Buckley is a lecturer at Emerson College.

Since first going on the air in 1972, HBO has continually attempted to redefine television as we know it. Today, pay television (and HBO in particular) is positioned as an alternative to network offerings, consistently regarded as the premier site for what has come to be called "quality television."This collection of new essays by an international group of media scholars argues that HBO, as part of the leading edge of television, is at the center of television studies’ interests in market positioning, style, content, technology, and political economy. The contributors focus on pioneering areas of analysis and new critical approaches in television studies today, highlighting unique aspects of the "HBO effect" to explore new perspectives on contemporary television from radical changes in technology to dramatic shifts in viewing habits.It’s Not TV provides fresh insights into the "post-television network" by examining HBO’s phenomenally popular and pioneering shows, including The Sopranos, The Wire, Six Feet Under, Sex and the City as well as its failed series, such as K Street and The Comeback. The contributors also explore the production process itself and the creation of a brand commodity, along with HBO’s place as a market leader and technological innovator.Contributors: Kim Akass, Cara Louise Buckley, Rhiannon Bury, Joanna L. Di Mattia, Blake D. Ethridge, Tony Kelso, Marc Leverette, David Marc, Janet McCabe, Conor McGrath, Shawn McIntosh, Brian L. Ott, Avi Santo, Lisa WilliamsonForeword by Toby MillerMarc Leverette is Assistant Professor of Media Studies at Colorado State University. He is author of Professional Wrestling, the Myth, the Mat, and American Popular Culture and co-editor of Zombie Culture: Autopsies of the Living Dead and Oh My God, They Deconstructed South Park! Those Bastards!Brian L. Ott is Associate Professor of Media Studies at Colorado State University. He is author of The Small Screen: How Television Equips Us to Live in the Information Age.Cara Louise Buckley is a lecturer at Emerson College.

Offers a rich interpretation of the region’s vexed history through a detailed study of the commemorative practices enacted—and withheld—at a landmark American museum.

Though we live in a time when memory seems to be losing its hold on communities, memory remains central to personal, communal, and national identities. And although popular and public discourses from speeches to films invite a shared sense of the past, official sites of memory such as memorials, museums, and battlefields embody unique rhetorical principles. ‘Places of Public Memory: The Rhetoric of Museums and Memorials’ is a sustained and rigorous consideration of the intersections of memory, place, and rhetoric. From the mnemonic systems inscribed upon ancient architecture to the roadside accident memorials that line America’s highways, memory and place have always been deeply interconnected. This book investigates the intersections of memory and place through nine original essays written by leading memory studies scholars from the fields of rhetoric, media studies, organisational communication, history, performance studies, and English. The essays address, among other subjects, the rhetorical strategies of those vying for competing visions of a 9/11 memorial at New York City’s Ground Zero; rhetorics of resistance embedded in the plans for an expansion of the National Civil Rights Museum; representations of nuclear energy—both as power source and weapon—in Cold War and post–Cold War museums; and tours and tourism as acts of performance. By focusing on “official” places of memory, the collection causes readers to reflect on how nations and local communities remember history and on how some voices and views are legitimated and others are minimised or erased.

Offers a rich interpretation of the region’s vexed history through a detailed study of the commemorative practices enacted—and withheld—at a landmark American museum.

Master the critical tools for understanding media in today’s fast-evolving digital landscape Critical Media Studies: An Introduction for the Digital Age provides students with a powerful framework for analyzing the impact of media on knowledge, attitudes, and behaviors. In a world increasingly shaped by digital technologies and personalized information feeds, this leading textbook supplies the theoretical tools and knowledge to understand how media influence individuals and society. With an interdisciplinary approach, Brian L. Ott and Robert L. Mack explore media’s role as a powerful socializing force, addressing the key areas of media technologies, industries, messages, and audiences. Each section delves into distinct critical perspectives, such as Marxist, feminist, and queer analysis, alongside exclusive chapters on pragmatic and erotic approaches. The fourth edition includes significant updates, including a detailed examination of the ecological impact of digital media and unique engagement with Byung-Chul Han’s philosophy. Throughout this edition, revised chapters incorporate contemporary examples, cutting-edge pedagogical features, timely discussion of global trends, and much more. Ideal for both undergraduate and graduate students, Critical Media Studies is perfect for courses in Media Studies, Communication, and Digital Media programs. Whether in introductory or advanced classes, students will find the text invaluable for fostering critical thinking, media literacy, and informed citizenship. Covering both introductory and advanced topics, it is also a valuable reference for scholars, media professionals, and those in communication-related fields.

Television is one of the most important socializing forces in contemporary culture.This book is a cultural history of prime-time television in America during the 1990s. Examines changes that took place in programming, such as the rapid adoption of cable, the proliferation of content providers, the development of niche marketing, the introduction of high-definition television, the blurring of traditional genres, and the creation of new formats like reality-based programmingArgues that television programmes of the 1990s afforded viewers a symbolic resource for negotiating the psychological challenges associated with the shift from the Industrial Age to the Information AgeExplores the ways in which television provided viewers with tools for coming to terms with their fears about living in the fast-paced , increasingly diverse, information-laden society of the 90s

Television is one of the most important socializing forces in contemporary culture.This book is a cultural history of prime-time television in America during the 1990s. Examines changes that took place in programming, such as the rapid adoption of cable, the proliferation of content providers, the development of niche marketing, the introduction of high-definition television, the blurring of traditional genres, and the creation of new formats like reality-based programmingArgues that television programmes of the 1990s afforded viewers a symbolic resource for negotiating the psychological challenges associated with the shift from the Industrial Age to the Information AgeExplores the ways in which television provided viewers with tools for coming to terms with their fears about living in the fast-paced , increasingly diverse, information-laden society of the 90s