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.

Fully revised to reflect today’s media environment, this new edition of Critical Media Studies offers students a comprehensive introduction to the field and demonstrates how to think critically about the power and influence of media in our daily lives. Material new to this edition includes a chapter on sociological analysis and reveals new ways audiences use media in their everyday lives to manage social roles, relationships, and contexts. Readers will also appreciate the extensive updating of previously discussed examples to reflect contemporary industry standards, textual forms, and audience behaviors and the inclusion of more international material to reflect contemporary media’s global reach. Continuing its well-received writing style that is both engaging and accessible, the book’s twelve perspectives provide readers with a diverse array of critical approaches to media studies, including original approaches such as erotic, sociological, and ecological analysis. Combining the best of well-tested theory with cutting-edge scholarship, this new edition of Critical Media Studies, offers invaluable insights into our current understanding of the nature and consequences of media in today’s world. Updated and enhanced online resources for instructors – including PowerPoint slides, test bank, study guides, and sample assignments – can be found at www.wiley.com/go/criticalmediastudies.

Fully revised to reflect today’s media environment, this new edition of Critical Media Studies offers students a comprehensive introduction to the field and demonstrates how to think critically about the power and influence of media in our daily lives. Material new to this edition includes a chapter on sociological analysis and reveals new ways audiences use media in their everyday lives to manage social roles, relationships, and contexts. Readers will also appreciate the extensive updating of previously discussed examples to reflect contemporary industry standards, textual forms, and audience behaviors and the inclusion of more international material to reflect contemporary media’s global reach. Continuing its well-received writing style that is both engaging and accessible, the book’s twelve perspectives provide readers with a diverse array of critical approaches to media studies, including original approaches such as erotic, sociological, and ecological analysis. Combining the best of well-tested theory with cutting-edge scholarship, this new edition of Critical Media Studies, offers invaluable insights into our current understanding of the nature and consequences of media in today’s world. Updated and enhanced online resources for instructors – including PowerPoint slides, test bank, study guides, and sample assignments – can be found at www.wiley.com/go/criticalmediastudies.

An engaging and accessible introduction to a broad range of critical approaches to contemporary mass media theory and research 

A decade after its first publication, Critical Media Studies continues toshape and define the field of media studies, offering innovative approaches that enable readers to explore the modern media landscape from a wide variety of perspectives. Integrating foundational theory and contemporary research, this groundbreaking text offers the most comprehensive set of analytical approaches currently available. Twelve critical perspectives—pragmatic, rhetorical, sociological, erotic, ecological, and others—enable readers to assess and evaluate the social and cultural consequences of contemporary media in their daily lives.

The new third edition includes up-to-date content that reflects the current developments and cutting-edge research in the field. New or expanded material includes changing perceptions of race and gender, the impact of fandom on the media, the legacy of the television age, the importance of media literacy in the face of “fake news”, and developments in industry regulations and U.S. copyright law. This textbook:

Critical Media Studies, 3rd Edition is the ideal resource for undergraduate students in media studies, cultural studies, popular culture, communication, rhetoric, and sociology, graduate students new to critical perspectives on the media, and scholars in the field.

An engaging and accessible introduction to a broad range of critical approaches to contemporary mass media theory and research 

A decade after its first publication, Critical Media Studies continues toshape and define the field of media studies, offering innovative approaches that enable readers to explore the modern media landscape from a wide variety of perspectives. Integrating foundational theory and contemporary research, this groundbreaking text offers the most comprehensive set of analytical approaches currently available. Twelve critical perspectives—pragmatic, rhetorical, sociological, erotic, ecological, and others—enable readers to assess and evaluate the social and cultural consequences of contemporary media in their daily lives.

The new third edition includes up-to-date content that reflects the current developments and cutting-edge research in the field. New or expanded material includes changing perceptions of race and gender, the impact of fandom on the media, the legacy of the television age, the importance of media literacy in the face of “fake news”, and developments in industry regulations and U.S. copyright law. This textbook:

Critical Media Studies, 3rd Edition is the ideal resource for undergraduate students in media studies, cultural studies, popular culture, communication, rhetoric, and sociology, graduate students new to critical perspectives on the media, and scholars in the field.

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 Williamson

Foreword by Toby Miller

Marc 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 Williamson

Foreword by Toby Miller

Marc 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.