Cultural Media Studies – serie

What did gay men do in women’s liberation—and vice-versa? This book offers the first systematic investigation of the question. Conventional wisdom has offered varied and contradictory stories: Gay men were misogynistic enemies of feminism; feminist women were homophobic or androphobic; feminist women and gay men collaborated only during the 1960s-1970s liberation moment; lesbians rushed in to work with gay men during the AIDS crisis. Examined for the first time in this book, their stories are much more complex, yesterday and today. Feminist women and gay men have had dynamic relations in popular thinking and historic practice, including commonality, opposition, and intellectual contributions. Written by a feminist-identified gay man, this book forges an examination of these two groups’ alliances and obstacles over the past 50 years, as well as their communications of, between, and about each other. What have been the received views of how these groups have or have not worked together politically? What historical evidence supports, contradicts, or complicates these views? New findings help illuminate understandings of the past and present of US women’s and LGBTQ movements, as well as broader relations between social movements in general. With a special focus on neglected areas of research, such as the US South, it also argues for how these social movements shaped ideas about what it means to be gay and/or feminist. This book is suitable in whole or excerpt for classes in LGBTQ studies, women’s studies, feminist theory, social movements, American studies, and US history.

What did gay men do in women’s liberation—and vice-versa? This book offers the first systematic investigation of the question. Conventional wisdom has offered varied and contradictory stories: Gay men were misogynistic enemies of feminism; feminist women were homophobic or androphobic; feminist women and gay men collaborated only during the 1960s-1970s liberation moment; lesbians rushed in to work with gay men during the AIDS crisis. Examined for the first time in this book, their stories are much more complex, yesterday and today. Feminist women and gay men have had dynamic relations in popular thinking and historic practice, including commonality, opposition, and intellectual contributions. Written by a feminist-identified gay man, this book forges an examination of these two groups’ alliances and obstacles over the past 50 years, as well as their communications of, between, and about each other. What have been the received views of how these groups have or have not worked together politically? What historical evidence supports, contradicts, or complicates these views? New findings help illuminate understandings of the past and present of US women’s and LGBTQ movements, as well as broader relations between social movements in general. With a special focus on neglected areas of research, such as the US South, it also argues for how these social movements shaped ideas about what it means to be gay and/or feminist. This book is suitable in whole or excerpt for classes in LGBTQ studies, women’s studies, feminist theory, social movements, American studies, and US history.

Is media changing the way we see transgender people or is it the other way around? In the past twenty to thirty years, transgender people have gradually appeared in films and television shows with more and more frequency. However, more visibility does not always translate to a higher degree of acceptance of trans people. Authors in this book studied the most popular programs and movies of all times to see how much (and how little) media portrayals have changed when it comes down to trans folks. Although in recent years openly transgender celebrities and fictional characters have broken into the mainstream to challenge hegemonic understandings of this population, productions such as Transparent and Orange Is the New Black fall victim to commonplace portrayals, repeating the negative tropes they were trying to resist. Nevertheless, nuanced interpretations and thorough analyses from this collection show evidence that movies and programs with transgender people make progress from total erasure or invisibility. Transmedia and Public Representation: Transgender People in Film and Television is as complex and diverse as the authors, productions, and characters in it. It is a must-have, must-read book for anyone who studies or works in areas related to media, social sciences, and LGBTQ studies and activism. But it is also an appealing invitation to understand the current media landscape through the eyes and voices of trans and queer people, their relatives, and their allies.

Is media changing the way we see transgender people or is it the other way around? In the past twenty to thirty years, transgender people have gradually appeared in films and television shows with more and more frequency. However, more visibility does not always translate to a higher degree of acceptance of trans people. Authors in this book studied the most popular programs and movies of all times to see how much (and how little) media portrayals have changed when it comes down to trans folks. Although in recent years openly transgender celebrities and fictional characters have broken into the mainstream to challenge hegemonic understandings of this population, productions such as Transparent and Orange Is the New Black fall victim to commonplace portrayals, repeating the negative tropes they were trying to resist. Nevertheless, nuanced interpretations and thorough analyses from this collection show evidence that movies and programs with transgender people make progress from total erasure or invisibility. Transmedia and Public Representation: Transgender People in Film and Television is as complex and diverse as the authors, productions, and characters in it. It is a must-have, must-read book for anyone who studies or works in areas related to media, social sciences, and LGBTQ studies and activism. But it is also an appealing invitation to understand the current media landscape through the eyes and voices of trans and queer people, their relatives, and their allies.

Insecure, Awkward, and #Winning: Intersectionality of Race, Gender, and Sexuality in the Works of Issa Rae is the first project dedicated exclusively to Issa Rae and her works. Her work offers a fertile space where contemporary issues intersect, encouraging audiences to discuss meaning and impact within their own lives, society, and cultural identities. The text offers analysis informed by Critical Media Studies, Cultural Studies, Critical Race Theory, and Intersectionality research. The book features a collection of provocative contributions from scholars from multiple disciplines—including literary, history, and communication. The project offers varying perspectives on Rae, insecure, her memoir, The Misadventures of Awkward Black Girl, and the relevance of her work to American culture. Throughout the book are dispersed brief reflections from veteran scholars, content creators, and industry professionals on the significance of Rae and her work. These pieces speak to the impact of Rae’s cultural productions. The book contains five thematic sections that include a total of twelve chapters. Those chapters address a range of topics including Black sexuality, humor, gentrification, race in the workplace, White allies, and Blackness in digital spaces. The goal is to reach audiences both popular and scholarly. The authors hope this project sparks the interest of fans and those new to Rae’s work. Among others, this book could be used in the following courses: Representation in the Media; Comparative Race and Ethnic Studies (in the Media); Research Seminar in Black Studies; Womanism, Black Feminist/Queer Theories; and The African American Storytellers.

Insecure, Awkward, and #Winning: Intersectionality of Race, Gender, and Sexuality in the Works of Issa Rae is the first project dedicated exclusively to Issa Rae and her works. Her work offers a fertile space where contemporary issues intersect, encouraging audiences to discuss meaning and impact within their own lives, society, and cultural identities. The text offers analysis informed by Critical Media Studies, Cultural Studies, Critical Race Theory, and Intersectionality research. The book features a collection of provocative contributions from scholars from multiple disciplines—including literary, history, and communication. The project offers varying perspectives on Rae, insecure, her memoir, The Misadventures of Awkward Black Girl, and the relevance of her work to American culture. Throughout the book are dispersed brief reflections from veteran scholars, content creators, and industry professionals on the significance of Rae and her work. These pieces speak to the impact of Rae’s cultural productions. The book contains five thematic sections that include a total of twelve chapters. Those chapters address a range of topics including Black sexuality, humor, gentrification, race in the workplace, White allies, and Blackness in digital spaces. The goal is to reach audiences both popular and scholarly. The authors hope this project sparks the interest of fans and those new to Rae’s work. Among others, this book could be used in the following courses: Representation in the Media; Comparative Race and Ethnic Studies (in the Media); Research Seminar in Black Studies; Womanism, Black Feminist/Queer Theories; and The African American Storytellers.

The 2019 Chinese drama Chén Qíng Lìng (CQL; translated The Untamed) quickly became a massive phenomenon, drawing millions of viewers in China and beyond. Its resonant story, rich cast of characters, and striking production captured audience attention globally; its paratexts and fandoms helped keep that attention sustained. What made this particular mix so compelling, and what can The Untamed show us about increasingly transcultural media flows?Catching Chén Qíng Lìng explores how The Untamed has been translated, produced, distributed, watched, and remixed. Contributors offer multifaceted insights into the path from subcultural writing tradition to highly profitable entertainment media, as well as some of the challenges such change engenders.From fan translations and digital labor to the 227 Incident and issues of censorship, this collection explores some of the questions raised by The Untamed’s enduring resonance and considers what this might mean for the future of transcultural media.

The 2019 Chinese drama Chén Qíng Lìng (CQL; translated The Untamed) quickly became a massive phenomenon, drawing millions of viewers in China and beyond. Its resonant story, rich cast of characters, and striking production captured audience attention globally; its paratexts and fandoms helped keep that attention sustained. What made this particular mix so compelling, and what can The Untamed show us about increasingly transcultural media flows?Catching Chén Qíng Lìng explores how The Untamed has been translated, produced, distributed, watched, and remixed. Contributors offer multifaceted insights into the path from subcultural writing tradition to highly profitable entertainment media, as well as some of the challenges such change engenders.From fan translations and digital labor to the 227 Incident and issues of censorship, this collection explores some of the questions raised by The Untamed’s enduring resonance and considers what this might mean for the future of transcultural media.

Television serial fiction is one of the most popular cultural products around the world today, and there is much indirect evidence that its stories influence the understanding of those who watch and enjoy it. All the chapters gathered in this collection address the idea that the specific aesthetic and narrative properties of television seriality contribute to distinct ways of conveying cognitive impact in a broad sense: from content learning, to reflection on social and philosophical issues, to character engagement and emotional reactions. The Cognitive Impact of Contemporary Television Series goes through some of the thematic constants of the last decade of television seriality, such as dystopia, coming-of-age or metaphysical drama, making panoramic views and delving into specific case studies, like The Purge, The End of the F***ing World and Undone, among many others. This book will be of interest to graduate students and scholars working in television studies, as well as in film studies, cognitive media theory, media psychology, and aesthetics.

Television serial fiction is one of the most popular cultural products around the world today, and there is much indirect evidence that its stories influence the understanding of those who watch and enjoy it. All the chapters gathered in this collection address the idea that the specific aesthetic and narrative properties of television seriality contribute to distinct ways of conveying cognitive impact in a broad sense: from content learning, to reflection on social and philosophical issues, to character engagement and emotional reactions. The Cognitive Impact of Contemporary Television Series goes through some of the thematic constants of the last decade of television seriality, such as dystopia, coming-of-age or metaphysical drama, making panoramic views and delving into specific case studies, like The Purge, The End of the F***ing World and Undone, among many others. This book will be of interest to graduate students and scholars working in television studies, as well as in film studies, cognitive media theory, media psychology, and aesthetics.

This book illuminates the rhetorical work performed by contemporary representations of a specific type of postfeminist hero who has garnered a lot of cultural capital: women who are smart, capable, physically agile and fit, and proficient with weaponry and technology. Employing critical/cultural and feminist approaches, Heather Hundley, Roberta Chevrette, and Hillary Jones engage with a range of theories including intersectionality, critical race theory, postmodernism, and posthumanism to examine a range of contemporary texts, including Kill Bill, Volumes I and II; The Hunger Games films; Wonder Woman; Atomic Blonde; Proud Mary; The Bionic Woman; Deus Ex; Dark Matter; and Caprica. Contributing to a robust existing conversation about postfeminist media as well as tracing how representation has changed in recent years, Hundley, Chevrette, and Jones contend that portrayals of dangerous dames offer limitations and opportunities for audiences. Specifically, should audiences read these characters as evidence of a postfeminist apocalypse, they may heed warnings of the limited interpretations offered. Yet as more women serve as role models and gain public attention, particularly regarding their assets and abilities, they provide important equipment for living for navigating around patriarchal constraints raised by postfeminism, neoliberalism, and humanism.