Finalist in the 2016 Foreword INDIES Book of the Year Award in the Social Sciences category Romantic Mediations investigates the connections among British Romantic writers, their texts, and the history of major forms of technical media from the turn of the nineteenth century to the present. Opening up the vital new subfield of Romantic media studies through interventions in both media archaeology and contemporary media theory, Andrew Burkett addresses the ways that unconventional techniques and theories of storage and processing media engage with classic texts by William Blake, Lord Byron, John Keats, Mary Wollstonecraft Shelley, and others. Ordered chronologically and structured by four crucial though often overlooked case studies that delve into Romanticism's role in the histories of incipient technical media systems, the book focuses on different examples of the ways that imaginative literature and art of the period become taken up and transformed by—while simultaneously shaping considerably—new media environments and platforms of photography, phonography, moving images, and digital media.

Elayne Rapping Feminist media critic Elayne Rapping takes such varied pop culture artifacts as soap operas, Madonna, and Amy Fisher to uncover a new paradigm of feminism's interface with the media.

Tactical media describes interventionist media art practices that engage and critique the dominant political and economic order. Rather than taking to the streets and staging spectacular protests, the practitioners of tactical media engage in an aesthetic politics of disruption, intervention, and education. In Tactical Media, Rita Raley provides a critical exploration of the new media art activism that has emerged out of, and in direct response to, postindustrialism and neoliberal globalization.

Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves—Earth’s history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern-day life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski’s widely discussed notion of deep time—but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. He shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices. A Geology of Media demonstrates that the environment does not just surround our media cultural world—it runs through it, enables it, and hosts it in an era of unprecedented climate change. While looking backward to Earth’s distant past, it also looks forward to a more expansive media theory—and, implicitly, media activism—to come.

This exhaustive monograph of Susan Meiselas will be released in occasion of the retrospective that will take place at Tàpies Foundation in Barcelone, Jeu de Paume in Paris and SFMOMA in San Francisco. Mediations is published by Damiani/Jeu de Paume/Fondation Tàpies. This exhibition and monograph propose a selection of works from the 1970s to today which reveal the particular approach of Susan Meiselas toward to the underlying reasons for making photographs, how the image concerns it's subject as much as the photographer and the role that these images can have at different levels in society and particularly in photojournalism. She questions the relationship between the image and the subject in such a way as to include the people portrayed in the image in the process of the making. There is nothing systematic in her approach: each work expresses in a very strong manner that context is vital to the understanding of photography. Therefore her work is specific to the persons portrayed, to the notion of community to which they belong and to the locality of the geographic and political territories that the artist addresses. The way of the showing the work is equally a part of the thought process. How does the spectator behold the artwork? It is often comprised of many parts, made in different media: each "layer" is used to document a level of meaning. For Meiselas one should be able to grasp why the image was taken. Both the subject of the image and the context in which the images are shown are taken into account in the elaboration of each project.

This book has been replaced by Introduction to Mediation, Moderation, and Conditional Process Analysis, Third Edition, ISBN 978-1-4625-4903-0.

Communication, Culture and Hegemony is the first English translation of this major contribution to cultural studies in media research. Building on British, French and other European traditions of cultural studies, as well as a brilliant synthesis of the rich and extensive research of Latin American scholars, Mart[ac]in-Barbero offers a substantial reassessment of critical media theory.

In 2007, an unlikely troupe of 1500 Filipino prisoners became Internet celebrities after their YouTube video of Michael Jackson's ground-breaking hit 'Thriller' went viral. Taking this spectacular dance as a point of departure, Dangerous Mediations explores the disquieting development of prisoners performing punishment to a global, online audience. Combining analysis of this YouTube video with first-hand experiences from fieldwork in the Philippine prison, Áine Mangaoang investigates a wide range of interlocking contexts surrounding this user-generated text to reveal how places of punishment can be transformed into spaces of spectacular entertainment, leisure, and penal tourism. In the post-YouTube era, Dangerous Mediations sounds the call for close readings of music videos produced outside of the corporate culture industries. By connecting historical discussions on postcolonialism, surveillance and prison philosophy with contemporary scholarship on popular music, participatory culture and new media, Dangerous Mediations is the first book to ask critical questions about the politics of pop music and audiovisual mediation in early 21st-century detention centres.

Brands, which are major economic entities and major symbols of market mediations, are increasingly appearing in the social arena as cultural actors in their own right. Their quest for social legitimacy and to have control over the markets goes beyond the usual framework of their communication with initiatives that have begun to have an impact on the French cultural landscape. Media, digital content, educational kits, museum exhibitions and so on are the actions of an unadvertization, which has the potential to transform not only the rapport brands have with the public but also representations of knowledge and culture. The communicative approach at the heart of this book illuminates the contemporary transformations of communication, highlighting three main types of cultural mediations: media, education, and cultural heritage institutions. Cultural Mediations of Brands thus provides a theoretical and critical analysis of the brand and the symbolic effectiveness attributed to it.