Sut Jhally – författare

The Cosby Show needs little introduction to most people familiar with American popular culture. It is a show with immense and universal appeal. Even so, most debates about the significance of the program have failed to take into account one of the more important elements of its success—its viewers. Through a major study of the audiences of The Cosby Show, the authors treat two issues of great social and political importance—how television, America's most widespread cultural form, influences the way we think, and how our society in the post-Civil Rights era thinks about race, our most widespread cultural problem. This book offers a radical challenge to the conventional wisdom concerning facial stereotyping in the United States and demonstrates how apparently progressive programs like The Cosby Show, despite good intentions, actually help to construct "enlightened" forms of racism. The authors argue that, in the post-Civil Rights era, a new structure of racial beliefs, based on subtle contradictions between attitudes toward race and class, has brought in its wake this new form of racial thought that seems on the surface to exhibit a new tolerance. However, professors Jhally and Lewis find that because Americans cannot think clearly about class, they cannot, after all, think clearly about race. This groundbreaking book is rooted in an empirical analysis of the reactions to The Cosby Show of a range of ordinary Americans, both black and white. Professors Jhally and Lewis discussed with the different audiences their attitudes toward the program and more generally their understanding and perceptions of issues of race and social class. Enlightened Racism is a major intervention into the public debate about race and perceptions of race—a debate, in the 1990s, at the heart of American political and public life. This book is indispensable to understanding that debate.

This book offers a radical challenge to the conventional wisdom concerning racial stereotyping in the United States and demonstrates how apparently progressive programs like The Cosby Show, despite good intentions, actually help to construct enlightened forms of racism.

This book examines the commercial speech of advertising as a cultural phenomenon whose social significance far exceeds its economic influence. Jhally argues that by selling viewing time to advertisers, television converts audiences into laborers who "work" for the media in the same way that workers do in a factory. By watching commercial messages on TV, viewers actively create symbolic meaning, but also generate profit for the media in return for the wage of entertainment.

First published in 1989, Cultural Politics in Contemporary America is a radical attempt to lay out the complex ways in which the American media and American culture is powerfully interlocked. At the end of the 20th century, the media exerted an overwhelming influence on the formation of social identity through the production and consumption of images. The Hollywood Presidency of Ronald Reagan was founded on the skills of the ‘Great Communicator’; Bruce Springsteen’s ‘Born in the USA’ was used by Chrysler Corporation to assure that ‘the pride is back’; feminists and right-wing militants converged to oppose pornography. The media, American culture, and political power were bound together in a gamble, the stakes of which increased daily. ‘Cultural Politics’ incorporates the struggles of race, gender and class; the economy of the commercial media system; the myths of hegemony and imperialism; the crises of privacy and of the intellectual; and such diverse issues as postmodernism, the American automobile, advertising as communication, and television. While political actors have changed and media technology has advanced rapidly, the outcome of this research still holds true for the 21st century and is of importance to students of media studies, cultural studies, postmodernism, postcolonial studies and political science.

First published in 1989, Cultural Politics in Contemporary America is a radical attempt to lay out the complex ways in which the American media and American culture is powerfully interlocked. At the end of the 20th century, the media exerted an overwhelming influence on the formation of social identity through the production and consumption of images. The Hollywood Presidency of Ronald Reagan was founded on the skills of the ‘Great Communicator’; Bruce Springsteen’s ‘Born in the USA’ was used by Chrysler Corporation to assure that ‘the pride is back’; feminists and right-wing militants converged to oppose pornography. The media, American culture, and political power were bound together in a gamble, the stakes of which increased daily. ‘Cultural Politics’ incorporates the struggles of race, gender and class; the economy of the commercial media system; the myths of hegemony and imperialism; the crises of privacy and of the intellectual; and such diverse issues as postmodernism, the American automobile, advertising as communication, and television. While political actors have changed and media technology has advanced rapidly, the outcome of this research still holds true for the 21st century and is of importance to students of media studies, cultural studies, postmodernism, postcolonial studies and political science.

Newly updated for the digital era, this classic textbook provides a comprehensive historical study of advertising and its function within contemporary society by tracing advertising's influence throughout different media and cultural periods, from early magazines through to social media. With several new chapters on the rise of the Internet, mobile, and social media, this fourth edition offers new insights into the role of Google, Facebook, Snapchat, and YouTube as both media and advertising companies, as well as examining the role of brand culture in the 21st century.

Newly updated for the digital era, this classic textbook provides a comprehensive historical study of advertising and its function within contemporary society by tracing advertising's influence throughout different media and cultural periods, from early magazines through to social media. With several new chapters on the rise of the Internet, mobile, and social media, this fourth edition offers new insights into the role of Google, Facebook, Snapchat, and YouTube as both media and advertising companies, as well as examining the role of brand culture in the 21st century.

This book examines the commercial speech of advertising as a cultural phenomenon whose social significance far exceeds its economic influence. Jhally argues that by selling viewing time to advertisers, television converts audiences into laborers who "work" for the media in the same way that workers do in a factory. By watching commercial messages on TV, viewers actively create symbolic meaning, but also generate profit for the media in return for the wage of entertainment.

Hunter Thompson’s writing is widely read and studied, yet as a methodology and body of work his Gonzo journalism has not been the subject of much critical or theoretical examination. This book fills the gap by constructing a coherent theoretical framework around Gonzo journalism.Drawing on theories of subjectivity and authorship from Derrida, Foucault and Barthes, key themes of Gonzo journalism are considered, including edgework, representations of drug use, ideas of professional objectivity in political journalism, sports in American culture and ‘the death of the American Dream’. It is considered in wider social, political and historical contexts and in terms of boundaries of reportable experience and of objectivity and/or journalism.Matthew Winston’s study provides a critical commentary and a theoretical exploration of how Gonzo can be read as destabilising conventional ideas of journalism itself, in its peculiarly unclassifiable nature.This book is designed to be read by postgraduates and scholars in journalism, cultural studies and media and communication. It is also suitable as an undergraduate text dealing with journalism theory, literary journalism, sports journalism, the New Journalism and the wider historical contexts of American journalism.