Living Room Wars brings together Ien Ang's recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist. Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch. Living Room Wars highlights the inherent contradictions of a `politics of pleasure' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture. Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women's fantasy; feminist desire and female pleasure in media consumption, and the transnational media system.

Living-Room War is Arlen's valiant - and entertaining - attempt to figure out exactly what television does to us. This timeless collection of essays provides a poetic look at 1960s television culture, ranging from the Vietnam war to Captain Kangaroo, from the 1968 Democratic convention to televised sports.

This book explores and analyzes the 13,000-year legacy of pictures of war from various cultures over the centuries, from Stone Age cave paintings to the instantaneous images of the Gulf War. 41 illustrations.

This facsimile reprint of the 1989 edition is, according to Library Journal, ..".a wonderfully concise and comprehensive resource on a very important topic. In 268 detailed entries, the authors provide a wealth of information on such topics as the arms race, conventional and nuclear weapons, nuclear strategy, and disarmament. The entries are cross-referenced, and there is an index. Of great value to general readers as well as specialists."

Traditional explorations of war look through the lens of history and military science, focusing on big events, big battles, and big generals. By contrast, The SAGE Encyclopedia of War: Social Science Perspective views war through the lens of the social sciences, looking at the causes, processes and effects of war and drawing from a vast group of fields such as communication and mass media, economics, political science and law, psychology and sociology. Key features include: More than 650 entries organized in an A-to-Z format, authored and signed by key academics in the field Entries conclude with cross-references and further readings, aiding the researcher further in their research journeys An alternative Reader’s Guide table of contents groups articles by disciplinary areas and by broad themes A helpful Resource Guide directing researchers to classic books, journals and electronic resources for more in-depth study This important and distinctive work will be a key reference for all researchers in the fields of political science, international relations and sociology.

A war’s outcome is determined by more than bullets and bombs. In our digital age, the proliferation of new media venues has magnified the importance of information – whether its content is true or purposely false – in battling an enemy and defending the public. In this book, Philip Seib, one of the world’s leading experts on media and war, offers a probing analysis of the role of information in warfare from the Second World War to the present day and beyond. He focuses on some of the thorniest issues on the contemporary agenda: When untruthful and inflammatory information poisons a nation’s political processes and weakens its social fabric, what kind of response is appropriate? How can media literacy help citizens defend themselves against information warfare? Should militaries place greater emphasis on crippling their adversaries with information rather than kinetic force? Well-written and wide-ranging, Information at War suggests answers to key questions with which governments, journalists, and the public must grapple during the years ahead. Information at war affects us all, and this book shows us how.

Many African countries are caught up in perennial or recurrent political conflicts that often culminate in devastating wars. These flaring conflicts and wars create harrowing economic hardships, dire refugee problems, and sustain a sense of despair in such countries. By their nature, these conflicts and wars affect writers in profound and sometimes paradoxical ways. On the one hand, literature-whether fiction, poetry, drama, or even memoirs-is animated by conflict. On the other hand, the sense of dislocation as well as the humanitarian crises unleashed by wars and other kinds of conflicts also constitute grave impediments to artistic exploration and literary expression. Writers and artists are frequently in the frontline of resistance to the kinds of injustices and abuses that precipitate wars and conflicts. Consequently, they are often detained, exiled, and even killed either by agents of state terror or by one faction or another in the tussle for state control. Writers, Writing Conflicts and Wars in Africa is a collection of testimonies by various writers and scholars who have experienced, or explored, the continent's conflicts and woes, including how the disruptions shape artistic and literary production. The book is divided into two broad categories: in one, several writers speak directly, and with rich anecdotal details about the impact wars and conflicts have had in the formation of their experience and work; in the second, a number of scholars articulate how particular writers have assimilated the horrors of wars and conflicts in their literary creations. The result is an invaluable harvest of reflections and perspectives that open the window into an essential, but until now sadly unexplored, facet of the cultural and political experience of African writers. The broad scope of this collection-covering Darfur, the Congolese crisis, Biafra, Zimbabwe, South Africa, among others-is complemented by a certain buoyancy of spirit that runs through most of the essays and anecdotes.

What are the consequences when law's stories and images migrate from the courtroom to the court of public opinion and from movie, television and computer screens back to electronic monitors inside the courtroom itself? What happens when lawyers and public relations experts market notorious legal cases and controversial policy issues as if they were just another commodity? What is the appropriate relationship between law and digital culture in virtual worlds on the Internet? In addressing these cutting edge issues, the essays in this volume shed new light on the current status and future fate of law, truth and justice in our time.

Herman Gray takes a sweeping look at black popular culture over the past decade to explore culture's role in the push for black political power and social recognition. In a series of linked essays, he finds that black artists, scholars, musicians, and others have been instrumental in reconfiguring social and cultural life in the United States and he provocatively asks how black culture can now move beyond a preoccupation with inclusion and representation. Gray considers how Wynton Marsalis and his creation of a jazz canon at Lincoln Center acted to establish cultural visibility and legitimacy for jazz. Other essays address such topics as the work of the controversial artist Kara Walker; the relentless struggles for representation on network television when those networks are no longer the primary site of black or any other identity; and how black musicians such as Steve Coleman and George Lewis are using new technology to shape and extend black musical traditions and cultural identities.

In Richard Barr: The Playwright’s Producer, author David A. Crespy investigates the career of one of the theatre’s most vivid luminaries, from his work on the film and radio productions of Orson Welles to his triumphant—and final—production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Explored in detail along the way are the producer’s relationship with playwright Edward Albee, whose major plays such as A Zoo Story and Who’s Afraid of Virginia Woolf Barr was the first to produce, and his innovative productions of controversial works by playwrights like Samuel Beckett, Terrence McNally, and Sam Shepard. Crespy draws on Barr’s own writings on the theatre, his personal papers, and more than sixty interviews with theatre professionals to offer insight into a man whose legacy to producers and playwrights resounds in the theatre world. Also included in the volume are a foreword and an afterword by Edward Albee, a three-time Pulitzer Prize–winning playwright and one of Barr’s closest associates.