Routledge Focus on Media and Cultural Studies – serie

This book explores the concept of cultural chauvinism as the sense of superiority that ethnic or national groups have of themselves relative to others, particularly in the context of international relations. Minabere Ibelema shows the various ways that academics, statesmen, and especially journalists, express their cultural groups’ sense of superiority over others. The analysis pivots around the notion of “Western values” given its centrality in international relations and diplomacy. To the West, this stands for an array of largely positive political and civic values; to a significant portion of the global community, it embodies degeneracies. Ibelema argues that often the most routine expressions go under the radar, even in this age of hypersensitivity. This book throws a unique light on global relations and will be of particular interest to scholars in international relations, communication studies and journalism studies.

This book explores the concept of cultural chauvinism as the sense of superiority that ethnic or national groups have of themselves relative to others, particularly in the context of international relations. Minabere Ibelema shows the various ways that academics, statesmen, and especially journalists, express their cultural groups’ sense of superiority over others. The analysis pivots around the notion of “Western values” given its centrality in international relations and diplomacy. To the West, this stands for an array of largely positive political and civic values; to a significant portion of the global community, it embodies degeneracies. Ibelema argues that often the most routine expressions go under the radar, even in this age of hypersensitivity. This book throws a unique light on global relations and will be of particular interest to scholars in international relations, communication studies and journalism studies.

This book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will be of great interest to people looking for a deeper understanding of crowdfunding, how it can influence artistic independence, and what it means for artists and audiences.It will be a stimulating read for scholars and students with an interest in media and cultural studies, digital humanities, fandom, sociology, economics, business studies, and law, while also offering insights to artists and practitioners in the creative industries.

This book explores how independent film and music artists and labels use crowdfunding and where this use places crowdfunding in the contemporary system of cultural production. It complements an analysis of independence in film and music with the topic of crowdfunding as a firmly established form of financing cultural activity.In the second half of the 20th century, the concept of artistic independence was vital to classifying and distinguishing artists, their works, and labels or publishers who released them. However, during the last three decades, this term has become increasingly blurred, and some commentators argue that independence is in crisis. Can crowdfunding be the answer to this crisis? Some believe that it is, whereas others argue otherwise, seeing crowdfunding instead as just the next manifestation of this crisis. This dilemma is a starting point for the analyses of the relationships between crowdfunding and artistic independence conducted in this book, and will be of great interest to people looking for a deeper understanding of crowdfunding, how it can influence artistic independence, and what it means for artists and audiences.It will be a stimulating read for scholars and students with an interest in media and cultural studies, digital humanities, fandom, sociology, economics, business studies, and law, while also offering insights to artists and practitioners in the creative industries.

This book explores how Ireland’s community media outlets reflect and shape identity at the local level. While aspects of its culture date back centuries, the nation-state of Ireland is less than one hundred years old. Because of this and other elements of the island’s history, Irish identity is a contested topic and the island is a place where culture, identity and geography are tightly intertwined. By addressing how community media serve as agents for community building, the book examines how they in turn influence the way individuals connect with their communities.

This book presents a new paradigm for attending to gender-based violence (GBV) social media discourse among marginalised Black women in South Africa.Focusing on the intersections of television and social media, the study charts the morphing and merging of the “inside” of the soap opera and the “outside” of the real world, amid a rise in feminist social media activism. The analysis begins with coverage of gender-based violence in a long-running South African soap opera and social media discussion of these issues, in parallel with real-world events and the collective social media response. The author offers pertinent insights into audiences in sub-Saharan Africa, presenting a new feminist trajectory for women and activism in the region.Offering new insights into an important issue, this book will be of interest to scholars and students of gender, cultural studies, film studies, television studies, sociology, development studies, feminism, media, and journalism.

This book presents a new paradigm for attending to gender-based violence (GBV) social media discourse among marginalised Black women in South Africa.Focusing on the intersections of television and social media, the study charts the morphing and merging of the “inside” of the soap opera and the “outside” of the real world, amid a rise in feminist social media activism. The analysis begins with coverage of gender-based violence in a long-running South African soap opera and social media discussion of these issues, in parallel with real-world events and the collective social media response. The author offers pertinent insights into audiences in sub-Saharan Africa, presenting a new feminist trajectory for women and activism in the region.Offering new insights into an important issue, this book will be of interest to scholars and students of gender, cultural studies, film studies, television studies, sociology, development studies, feminism, media, and journalism.

This book provides an up-to-date, in-depth survey of 21st-century Spanish horror film and media, exploring both aesthetics and industrial dynamics. It offers detailed analysis of contemporary films and TV series as well as novel approaches to key works within the history of Spanish cinema.While addressing the specificities of the Spanish landscape, this volume also situates the national cinematic output within the international arena, understanding film production and reception as continuously changing processes in which a variety of economic, social and cultural factors intervene. The book first analyzes the main horror trends emerging in the early 2000s, then approaches genre hybridization and the rise of new filmmakers since the 2010s with a special focus on gender issues and the reconfiguration of the past, before addressing the impact of streaming services within the Spanish film panorama, from a production and distribution standpoint.This book will be of keen interest to scholars and students in the areas of film studies, media studies, TV studies, horror, Spanish cultural studies and production studies.

‘Winner of the 2022 Hearten Book Awards for Inspiring & Uplifting Non-Fiction’Drawing upon a combination of ethnographic research and media and communication theory, Building Communities of Trust: Creative Work for Social Change offers pathways to building trust in a range of situations and communities.Ann Feldman presents rich examples from her own life and social-impact journey with nonprofit, Artistic Circles, along with supplemental case studies from interviews with 20 to 30-year-olds, to address how to create vibrant, trust-based societies and to determine what works and what doesn’t while advancing towards creating social impact. These case studies and shared experiences from real life media projects across 30 years, reveal behind-the-scenes stories of challenges, conflicts, and resolutions in global impact efforts ranging from women’s empowerment to water access. The book explains how the success – or failure – of social-impact initiatives depends on power struggles, funding, interpersonal misunderstandings, identity crises, fears, and stereotypes.The book’s goal is to help aspiring changemakers develop strategies for sustainable social-change projects. It serves as a guide for undergraduates, graduate students, and high-school upperclassmen in environmental studies, business, sociology, gender and sexuality, cross-cultural studies, music, religion, and communications and media.For more on Artistic Circles and Ann E Feldman’s work, please visit https://www.buildingcommunitiesoftrust.org/The Open Access version of this book has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license: https://www.taylorfrancis.com/books/oa-mono/10.4324/9781003296423/building-communities-trust-ann-feldman

This book provides an up-to-date, in-depth survey of 21st-century Spanish horror film and media, exploring both aesthetics and industrial dynamics. It offers detailed analysis of contemporary films and TV series as well as novel approaches to key works within the history of Spanish cinema.While addressing the specificities of the Spanish landscape, this volume also situates the national cinematic output within the international arena, understanding film production and reception as continuously changing processes in which a variety of economic, social and cultural factors intervene. The book first analyzes the main horror trends emerging in the early 2000s, then approaches genre hybridization and the rise of new filmmakers since the 2010s with a special focus on gender issues and the reconfiguration of the past, before addressing the impact of streaming services within the Spanish film panorama, from a production and distribution standpoint.This book will be of keen interest to scholars and students in the areas of film studies, media studies, TV studies, horror, Spanish cultural studies and production studies.

‘Winner of the 2022 Hearten Book Awards for Inspiring & Uplifting Non-Fiction’Drawing upon a combination of ethnographic research and media and communication theory, Building Communities of Trust: Creative Work for Social Change offers pathways to building trust in a range of situations and communities.Ann Feldman presents rich examples from her own life and social-impact journey with nonprofit, Artistic Circles, along with supplemental case studies from interviews with 20 to 30-year-olds, to address how to create vibrant, trust-based societies and to determine what works and what doesn’t while advancing towards creating social impact. These case studies and shared experiences from real life media projects across 30 years, reveal behind-the-scenes stories of challenges, conflicts, and resolutions in global impact efforts ranging from women’s empowerment to water access. The book explains how the success – or failure – of social-impact initiatives depends on power struggles, funding, interpersonal misunderstandings, identity crises, fears, and stereotypes.The book’s goal is to help aspiring changemakers develop strategies for sustainable social-change projects. It serves as a guide for undergraduates, graduate students, and high-school upperclassmen in environmental studies, business, sociology, gender and sexuality, cross-cultural studies, music, religion, and communications and media.For more on Artistic Circles and Ann E Feldman’s work, please visit https://www.buildingcommunitiesoftrust.org/The Open Access version of this book has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license: https://www.taylorfrancis.com/books/oa-mono/10.4324/9781003296423/building-communities-trust-ann-feldman

Bourdieusian Media Studies illustrates the merits of Pierre Bourdieu’s cultural sociological approach in the field of media studies, explicating exactly what a “Bourdieusian” analysis of media would entail, and what new understandings of the digital media landscape would emerge from such an analysis.The author applies the Bourdieusian concepts of social field, capital, and habitus to understand the social conditions of media and cultural production, media users’ practices and preferences, and the power dynamics entailed in social media networks. Based on a careful illumination of Bourdieu’s concepts, epistemological assumptions, and methodological approach, the book presents a range of case studies covering television production, the field of media studies itself, media use, and social media networks.Illustrating the craft of Bourdieusian media studies and shedding new light on key dynamics of digital media culture, this book will appeal to scholars and students working in media studies, media theory, sociology of media, digital media, and cultural production.

Bourdieusian Media Studies illustrates the merits of Pierre Bourdieu’s cultural sociological approach in the field of media studies, explicating exactly what a “Bourdieusian” analysis of media would entail, and what new understandings of the digital media landscape would emerge from such an analysis.The author applies the Bourdieusian concepts of social field, capital, and habitus to understand the social conditions of media and cultural production, media users’ practices and preferences, and the power dynamics entailed in social media networks. Based on a careful illumination of Bourdieu’s concepts, epistemological assumptions, and methodological approach, the book presents a range of case studies covering television production, the field of media studies itself, media use, and social media networks.Illustrating the craft of Bourdieusian media studies and shedding new light on key dynamics of digital media culture, this book will appeal to scholars and students working in media studies, media theory, sociology of media, digital media, and cultural production.

This book investigates the relationship of secrecy as a social practice to contemporary media, news cultures and public relations.Drawing on Georg Simmel’s theorisation of how secrecy produces a ‘second world’ alongside the ‘obvious world’ and creates and reshapes social relations, Anne Cronin argues for close analysis of the PR industry as a powerful vector of secrecy and an examination of its relationship to news cultures. Using case studies and in-depth interviews, as well as recent research in media and cultural studies, sociology, journalism studies and communication studies, the book analyses how PR practices generate a second, shadow world of the media sphere which has a profound impact on the ‘obvious world’. It interrogates both the PR industry’s and news culture’s role in shaping social relations for a digital media landscape, and those initiatives promoting transparency of data and decision-making processes.An insightful, interdisciplinary approach to debates on media and power, this book will appeal to students of public relations, sociology, media studies, cultural studies and communication studies. It will also be of interest to scholars and practitioners working at the intersections of media, social relations and public trust.

This book investigates the relationship of secrecy as a social practice to contemporary media, news cultures and public relations.Drawing on Georg Simmel’s theorisation of how secrecy produces a ‘second world’ alongside the ‘obvious world’ and creates and reshapes social relations, Anne Cronin argues for close analysis of the PR industry as a powerful vector of secrecy and an examination of its relationship to news cultures. Using case studies and in-depth interviews, as well as recent research in media and cultural studies, sociology, journalism studies and communication studies, the book analyses how PR practices generate a second, shadow world of the media sphere which has a profound impact on the ‘obvious world’. It interrogates both the PR industry’s and news culture’s role in shaping social relations for a digital media landscape, and those initiatives promoting transparency of data and decision-making processes.An insightful, interdisciplinary approach to debates on media and power, this book will appeal to students of public relations, sociology, media studies, cultural studies and communication studies. It will also be of interest to scholars and practitioners working at the intersections of media, social relations and public trust.

This book provides a comprehensive cultural and historical account of the key film policies put into place by the Spanish state between 1980 and 2010 through a gendered lens, framing these policies within the wider context of European film legislation.Departing from the belief that there is no such thing as an objective and value-neutral approach to policy analysis because our society is organised around gender, this volume builds upon Pierre Bourdieu’s theory of field to propose that film policies do not emerge in a vacuum because they respond to different demands from those agents involved in the field of the Spanish cinema. By so doing, it critically assesses how these policies have come into being, by whom, in response to what interests, how they have shaped the Spanish film industry, and how far and in what ways they have tackled gender inequality in the Spanish film industry.This book will be of great interest to scholars and students of Spanish cinema, gender studies, film industry studies, film policy, and feminist film studies.

This book provides a comprehensive cultural and historical account of the key film policies put into place by the Spanish state between 1980 and 2010 through a gendered lens, framing these policies within the wider context of European film legislation.Departing from the belief that there is no such thing as an objective and value-neutral approach to policy analysis because our society is organised around gender, this volume builds upon Pierre Bourdieu’s theory of field to propose that film policies do not emerge in a vacuum because they respond to different demands from those agents involved in the field of the Spanish cinema. By so doing, it critically assesses how these policies have come into being, by whom, in response to what interests, how they have shaped the Spanish film industry, and how far and in what ways they have tackled gender inequality in the Spanish film industry.This book will be of great interest to scholars and students of Spanish cinema, gender studies, film industry studies, film policy, and feminist film studies.

This book questions the predominance of “media abundance” as a guiding concept for contemporary mediated politics. The authors argue that media abundance is not a universal condition, and that certain individuals, communities, and even nations can more accurately be referred to as media scarce – where access to media technologies and content is limited, highly controlled, or surveilled.Through case studies that focus on guerilla militants, incarcerated Indigenous people, and cold war‑era infrastructure, including Soviet “closed” or “secret” cities and Canadian nuclear bunkers, the book’s chapters interrogate how the once media scarce later “speak” to – and can be heard by – the predominant, abundant media culture. Drawing from several art projects and diverse cultural sites, the book highlights how media scarce communities negotiate and otherwise narrate their place in the world, their past experiences and lives, and escape from subjugation. To better understand media scarce politics, the book asks how and when communities become – by accident or force, by choice or necessity – media scarce.This innovative and insightful text will appeal to students and scholars around the world working in the areas of media and politics, art and politics, visual studies, surveillance studies, and communication studies.

This book questions the predominance of “media abundance” as a guiding concept for contemporary mediated politics. The authors argue that media abundance is not a universal condition, and that certain individuals, communities, and even nations can more accurately be referred to as media scarce – where access to media technologies and content is limited, highly controlled, or surveilled.Through case studies that focus on guerilla militants, incarcerated Indigenous people, and cold war‑era infrastructure, including Soviet “closed” or “secret” cities and Canadian nuclear bunkers, the book’s chapters interrogate how the once media scarce later “speak” to – and can be heard by – the predominant, abundant media culture. Drawing from several art projects and diverse cultural sites, the book highlights how media scarce communities negotiate and otherwise narrate their place in the world, their past experiences and lives, and escape from subjugation. To better understand media scarce politics, the book asks how and when communities become – by accident or force, by choice or necessity – media scarce.This innovative and insightful text will appeal to students and scholars around the world working in the areas of media and politics, art and politics, visual studies, surveillance studies, and communication studies.

This book explores how Black-produced films, hip hop songs, and magazines shape the way we think about the African American high school experience. Using critical media literacy as its foundation, the book treats media as a powerful teacher, one that sends messages about race, school, success, and who is expected to thrive.Rather than seeing these images as harmless entertainment, the book shows how repeated media stories help normalize certain ideas about Black youth and education. Qualitative content analysis is used to closely examine popular films, songs, and magazines, looking for patterns in how Black students are portrayed and what education is said to offer them. Beyond theory and method, the book focuses on real-world impact, calling for transformative storytelling that celebrates the diversity and resilience of African American culture while fostering equity in education and media representation.Offering tools for educators, parents, media creators, and students to develop critical media literacy skills, challenge harmful stereotypes, and demand more authentic, complex, and empowering representations of Black youth and their educational experiences, this book will interest scholars and students of media studies, film and TV studies, education studies, cultural studies, African American studies, sociology, and communication studies.