This book attempts to grasp the recent paradigm shift in American politics through the lens of satire. It connects changes in the political and cultural landscape to corresponding shifts in the structure and organization of the media, in order to shed light on the evolution of political satire on late-night television. Satire is situated in its historical background to comprehend its movement away from the fringes of discourse to the very center of politics and the media. Beginning in the 1990s, certain trends such as technological advances, media consolidation, and the globalization of communications reinforced each other, paving the way for satire to claim a prized spot in the visual media—a tendency that only gained strength after September 11. While the Bush presidency presented itself as an apposite target for satirists, their stronghold on American television was made possible by a number of transitions in broader culture, which are encapsulated in the shrinking space available for political engagement under neoliberalism. This largely underestimated development can be understood through the framework of postmodernism, which focuses on the relationship between language, power, and the presentation of reality. These trends and transitions reached a climax in the 2016 election where President Trump was elected, embodying what can only be considered a significant turning point in American politics. The bigger narrative contains various subplots represented in the rise of the neoliberal economy, the acceptance of postmodernism as the dominant cultural code, and the role of the voyeur superseding that of the engaged citizen. It is only through understanding each of these pieces and connecting them that we can comprehend the current political transformation. The present moment may feel like a golden age of satire, and it may well be, but this book addresses the hardest questions about the realities behind such a claim: what can we conclude about when and how satire is effective, judging by the history of this genre in its various incarnations, and how can the “apolitical” postmodern media landscape be reconciled with what the best of this genre has had to offer during times of political duress?

This volume explores how and why we deny, or manipulate, or convert, or enhance reality. Finding it important to come to terms with reality, with what is there before us, and, with reality however defined, to live responsibly, this collection takes a truly multidisciplinary approach to examining the idea that history, the truth, facts, and the events of the present time can be refashioned as prismatic, theatrical, something we can play with for agendas either noble or ignoble. An international team of contributors considers the issue of how and why, in dealing what is there before us, we play with reality by employing theatre, fiction, words, conspiracy theories, alternate realities, scenarios, and art itself. Chapters delve into issues of fake news, propaganda, virtual reality, theatre as real life, reality TV, and positive ways of refashioning and enhancing your own reality. Drawing on examples from film studies to sociology, from the social sciences to medicine, this volume will appeal to scholars and upper-level students in the areas of communication and media studies, comparative literature, film studies, economics, English, international affairs, journalism, philosophy, psychology, sociology, and theatre.

Undergraduate and graduate students and scholars of film and television studies, comedy studies, and cultural studies will value this strong collection.

The ascendency of Donald J. Trump to the office of president was not a fluke. Changes in the media environment and changes in the political landscape converged and provided fertile ground for a demagogic populist to exploit existing structures for his personal and political gains. A right-wing ecosystem had developed that included cable television, talk radio, social media, and imageboards. The political rise of Trump occurred alongside a mainstreaming of far-right politics and a skepticism towards long-established institutions. Trump was able to exploit the shifts in politics and the media environment for his political gain. He deployed a post-truth strategy that challenged established media and political institutions and their claims to be arbiters of truth and protectors of democracy. This book explores the shifts in the media environment that made the political career of Donald Trump possible. The author shows the ways that Trump was able to inhabit the new media and political landscape and take advantage of journalistic norms and practices that were susceptible to exploitation by a demagogue with no allegiance to the truth and no reverence towards the foundations of liberal democracy. Understanding the ways in which Trump was able to emerge as a powerful political force is essential to those invested in challenging the momentum of the alt-right and forwarding the project of democracy.

Over the last decades of the 20th century, and into the 21st, humor on late-night TV became a more influential part of the United States’ political conversations. Not only did viewers talk about what the shows were saying, but serious journalists in newspapers and television news did as well. This book explores how Jon Stewart and Stephen Colbert became popular pundits, with their commentaries often being shown on the news or quoted in the papers, and how Tina Fey’s parody of Sarah Palin eclipsed the real life candidate herself. This transformation occurred after the attacks on 9/11 and the beginning of the War in Iraq, when comedy figures were often more critical and informative than traditional news sources. At the same time, they became more substantive in their critiques than political humor often had been in the past, which relied heavily on mocking political candidates’ personality quirks. Using transcripts from Saturday Night Live, The Daily Show, and The Colbert Report during the presidential elections from 1980-2008, this book takes a comprehensive look at how the comedy itself transformed. In addition, the analysis includes how journalists in the Washington Post and the New York Times discussed the shows at the time, revealing how they once denigrated the programs, but came to regard them as valuable narrative resources.

"This book studies the interactions between presidential candidates and hosts on broadcast late-night talk shows in the United States. Using discourse analysis, the authors develop a comprehensive understanding of the entertainment-political interview as a cultural, interactional, and ideological genre"--

The Research Handbook on Visual Politics focuses on key theories and methodologies for better understanding visual political communication. It also concentrates on the depictions of power within politics, taking a historical and longitudinal approach to the topic of placing visuals within a wider framework of political understanding.

This book explores stand-up comedy as a relevant sociological phenomenon from a contemporary perspective, as both a symptom of neoliberal capitalism and the locus specificus of socio-political critique in the era of Empire. It draws a feasible connection between the conspicuous rise in the art form’s popularity over the past number of years and the dehumanizing and fracturing processes of the current dispensation that are increasingly becoming the defining experience of life in the contemporary era, and to which, understood in terms of the traditional humor theory of relief (of which Sigmund Freud is key), comedy serves as an obvious palliative. More than this, Taking Comedy Seriously: Stand-Up’s Dissident Potential in Mass Culture, in the Context of the Neoliberal Domain of 'Empire' questions the possibility of a contemporary aesthetics of humor, given that much of the art form is disseminated and controlled by the mass media, and as such complicit in its work. In particular, it argues that the ideological situation of global capitalism poses an obvious predicament for the possibility of a socio-politically efficacious stand-up comedy in that ironic and skeptical distance is already characteristic of postmodern cynicism, incorporated into the social fabric itself, effectively rendering the comedic technique of satire (synonymous with so-called ‘political comedy’) altogether appropriated, or at least compromised, and subsequently impotent. From where then does a site of resistance emerge? Through an analysis of a range of contemporary televisual, digital and literary examples from the comedic routines of American comedian and talk-show host Ellen DeGeneres, South African satirist Pieter-Dirk Uys, and South African born (and now American comedic talk-show sensation) Trevor Noah, this book argues that a contemporary ‘political comedy’ is reliant on a structuring aesthetic logic built around dissent, disruption and difference.