Jean Baudrillard (1929-2007) was a controversial social and cultural theorist known for his trenchant analyses of media and technological communication. Belonging to the generation of French thinkers that included Gilles Deleuze, Jean-François Lyotard, Michel Foucault, and Jacques Lacan, Baudrillard has at times been vilified by his detractors, but the influence of his work on critical thought and pop culture is impossible to deny (many might recognize his name from The Matrix movies, which claimed to be based on the French theorist's ideas). Steve Redhead takes a fresh look at Baudrillard in relation to the intellectual and political climates in which he wrote. Baudrillard sought to produce a theory of modernity, but the modern world of the 1950s was radically different from the reality of the early twenty-first century. Beginning with Baudrillard's initial publications in the 1960s and concluding with his writings on 9/11 and Abu Ghraib, Redhead guides the reader through Baudrillard's difficult texts and unorthodox views on current issues. He also proposes an original theory of Baudrillard's relation to postmodernism, presenting the theorist's work as "non-postmodernist," after Bruno Latour's concept of "non-modernity." Each section of the Reader includes an extract from one of Baudrillard's writings, prefaced by a short bibliographical introduction that places the piece in context and puts the debate surrounding the theorist into sharp perspective. The conflict over Baudrillard's legacy stems largely from the fact that a comprehensive selection of his writings has yet to be translated and collected into one volume. The Jean Baudrillard Reader provides an expansive and much-needed portrait of the critic's resonant work.

This major new collection identifies the critical and theoretical concepts which have been most significant in the study of film and presents a historical and intellectual context for the material examined.

This bookoffers a major reappraisal of Jean Baudrillard's thoughts on the image, radical illusion and media culture. Here for the first time, through a number of highly accessible interviews and recent essays, Baudrillard introduces what he calls the stunning clarity' of the photographic, and fascinatingly outlines his present thoughts on urban reality, aesthetics, virtual reality and new media technologies, in the light of his practice as a photographer. The book is illustrated with eight colour plates of Baudrillard's photographs and includes a number of provocative and illuminating responses to his recent writings from noted Baudrillard scholars. It also includes a definitive bibliography of critical responses to Baudrillard's writings on media culture, art and photography.

Everyone knows that all the ills of life, from headaches to athlete's foot and from minor annoyances (like a broken shoelace) to major catastrophes (like a fallen soufflé) are the result of evil demons at work. Call them what you will--gremlins, goblins, imps, afrit, rakshasas, poltergeists, whatever--these supernatural creatures together account for all the world's misfortunes. The ancient Sumerians and their cultural heirs, the Assyrians and Babylonians, knew this as well as anyone, and so they made an extensive collection of incantations to ward off or counteract the effects of evil demons. These incantations were recited by the exorcist (a-sipu), doubtless accompanied by the appropriate ritual, to cast out the demon causing the problem. Indeed, the miraculous cures of Jesus were attributed to casting out demons and he passed this ability on to his disciples (Mark 16:17). So the casting out of demons has a lengthy history in the ancient Near East and continues to this day. There are many demons mentioned in the incantations, but prominent among them is Lilith, who, in her guise as Ardat Lilî or the Maiden Lilith, was the essential Mesopotamian temptress who copulated with men when they were asleep and bore demon children. According to some stories, Lilith was the first wife of Adam, who ran off when she refused to be sugjugated to her husband. The tradition of Lilith continues today with most first wives being considered demons by their ex-husbands. This work of scholarship contains 88 pages of cuneiform text, most of it bilingual Sumerian-Akkadian. It also includes a transliteration and a translation of the text and a glossary to the Sumerian text. The Sumerian glossary gives the Sumerian word or phrase, the Akkadian equivalent used in the text, and the English meaning. A separate index to the Akkadian words in the glossary is provided.

Peter Buse illuminates the relationship between modern British drama and contemporary critical and cultural theory. He demonstrates how theory allows fresh insights into familiar drama, pairing well-known plays with classic theory texts. The theoretical text is more than applied to the dramatic text, instead Buse shows how they reflect on each other. Drama + Theory provides not only provides new interpretations of popular plays, but of the theoretical texts as well.

This reader provides a selection of articles and essays by leading figures in the postmodernism debate.

How do digital media technologies affect society and our lives? Through the cultural theory hypotheses of hyper-modernism, hyperreality, and posthumanism, Alan N. Shapiro investigates the social impact of Virtual/Augmented Reality, AI, social media platforms, robots, and the Brain-Computer Interface. His examination of concepts of Jean Baudrillard and Katherine Hayles, as well as films such as Blade Runner 2049, Ghost in the Shell, Ex Machina, and the TV series Black Mirror, suggests that the boundary between science fiction narratives and the »real world« has become indistinct. Science-fictional thinking should be advanced as a principal mode of knowledge for grasping the world and digitalization.

This book goes beyond Baudrillard′s writings on consumer objects, the Gulf War and America, to identify the fundamental logic that underpins his writings. It does this through a series of close readings of his main texts, paying particular attention to the form and internal coherence of his arguments. The book is written for all those who want a general introduction to Baudrillard′s work, and will also appeal to those readers who are interested in social theory, but who have not yet taken Baudrillard seriously.

Are we inside the era of disasters or are we merely inundated by mediated accounts of events categorized as catastrophic? America's Disaster Culture offers answers to this question and a critical theory surrounding the culture of “natural” disasters in American consumerism, literature, media, film, and popular culture. In a hyper-mediated global culture, disaster events reach us with great speed and minute detail, and Americans begin forming, interpreting, and historicizing catastrophes simultaneously with fellow citizens and people worldwide. America's Disaster Culture is not policy, management, or relief oriented. It offers an analytical framework for the cultural production and representation of disasters, catastrophes, and apocalypses in American culture. It focuses on filling a need for critical analysis centered upon the omnipresence of real and imagined disasters, epidemics, and apocalypses in American culture. However, it also observes events, such as the Dust Bowl, Hurricane Katrina, and 9/11, that are re-framed and re-historicized as “natural” disasters by contemporary media and pop culture. Therefore, America's Disaster Culture theorizes the very parameters of classifying any event as a “natural” disaster, addresses the biases involved in a catastrophic event's public narrative, and analyzes American culture's consumption of a disastrous event. Looking toward the future, what are the hypothetical and actual threats to disaster culture? Or, are we oblivious that we are currently living in a post-apocalyptic landscape?