Bøger i Anthem Studies in Popular Culture serien

There was never such a thing as true freedom of speech. In the past, in order to speak freely you had to have access to a printing press, a newspaper, a radio or a TV station. And everywhere you had to get past the editors. Only members of the elite ever did the articulate and well-behaved 'representatives' of ordinary people. But those ordinary people hardly, if ever, had a chance to speak publicly and freely. Until now. The age of blogging has begun. The internet revolution has given us all a chance to be irreverent, blasphemous and ungrammatical in public. We can reveal secrets, blow whistles, spill beans or just make stuff up. The old elites don't like it. In fact, they really, really hate it. Blogs are commonly shut down, and bloggers are silenced, reprimanded and fired from their jobs. Suddenly modern liberal society reveals a repressive face that few of us knew existed. Should we behave ourselves? Should we fall silent? Absolutely not! Let's call them on their hypocrisy. Let's demand that modern liberal society lives by the principles it claims to embrace. Bloggers of the world, unite! You have nothing to lose but your gags.

The French Second Empire (1852-70) was a time of exceptionally rapid social, industrial and technological change. Guidebooks and manuals were produced in large numbers to help readers negotiate new cultural phenomena, and their concerns including image-making, diet, stress, lack of time, and the frustrations of public transport betray contemporary political tensions and social anxieties alongside the practical advice offered. French literature also underwent fundamental changes during this period, as writers such as Baudelaire, Flaubert, Gautier, Hugo and Zola embraced modernity and incorporated new technologies, fashions and inventions into their work. Focusing on cultural areas such as exhibitions, transport, food, dress and photography, Changing France shows how apparently trivial aspects of modern life provided Second Empire writers with a versatile means of thinking about deeper issues. This volume brings literature and material culture together to reveal how writing itself changed as writers recognised the extraordinarily rich possibilities of expression opened up to them by the changing material world.

From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television is a comprehensive and accessible introduction to key debates concerning the representations of motherhood, motherwork and the maternal role in contemporary television programming. The volume looks at the construction of motherhood in the ostensibly female genre of soap opera; the mother as housewife in the domestic situation comedy; deviant, desiring and delinquent motherwork in the teen drama; the single working mother in the contemporary dramedy; the fragile and failing mother of reality parenting television; the serene and selfless celebrity motherhood profile; and the new mother in reality pregnancy and childbirth television. Motherhood and Popular Television examines the depiction of motherhood in this wide range of popular television genres in order to illustrate how the maternal role is being constructed, circulated and interrogated in contemporary factual and fictional programming, paying particular attention to the ways in which such images can be seen to challenge or conform to the ideal image of the good mother that dominates the contemporary cultural landscape.

Edward FitzGerald''s ‘Rubáiyát’, loosely based on verses attributed to the eleventh-century Persian writer, Omar Khayyám, has become one of the most widely known poems in the world, republished virtually every year from 1879 to the present day, and translated into over eighty different languages. And yet it has been largely ignored or at best patronized by the academic establishment. This volume sets out to explore the reasons for both the popularity and the neglect.

A witty overview of humour in Russian culture.

An examination of racial attitudes in popular British culture, 1890?1940.

Edward FitzGerald''s ‘Rubáiyát’, loosely based on verses attributed to the eleventh-century Persian writer, Omar Khayyám, has become one of the most widely known poems in the world, republished virtually every year from 1879 to the present day, and translated into over eighty different languages. And yet it has been largely ignored or at best patronized by the academic establishment. This volume sets out to explore the reasons for both the popularity and the neglect.

''South Asian Media Cultures'' examines a wide range of media cultures and practices from across South Asia, using a common set of historical, political and theoretical engagements. In the context of such pressing issues as peace, conflict, democracy, politics, religion, class, ethnicity and gender, these essays explore the ways different groups of South Asians produce, understand and critique the media available to them.

Commercial cinema has always been one of the biggest indigenous industries in India, and remains so in the post-globalization era, when Indian economy has entered a new phase of global participation, liberalization and expansion. Issues of community, gender, society, social and economic justice, bourgeois-liberal individualism, secular nationhood and ethnic identity are nowhere more explored in the Indian cultural mainstream than in commercial cinema. As Indian economy and policy have gone through a sea-change after the end of the Cold War and the commencement of the Global Capital, the largest cultural industry has followed suit. For example, the global Indian community (known in Indian official terms as the Non-Resident Indian or the NRI) has become an integral part of the cultural representation of India.The politics and ideology of Indian commercial cinema have become extremely complex, offering a fascinating case-study to scholars of Global Culture. Of particular interest is the re-positioning of individual identity vis-à-vis nation, religion, class, and gender. On one hand, the definition of ''nationhood'' and/or community has become much more fluid, keeping in tune with the sweeping universal claims of globalization; the films have consequently revised the scope of their narratives to match India''s emerging global business ambitions. On the other hand, the political realities of India''s long-standig enmity with Pakistan and the international rise of ''Hindutva'' has also contributed to a new strain of jingoism in Indian cinema. ''Bollywood and Globalization'' is a significant scholarly contribution to the current debate on Indian cinema, nationhood and Global Culture. The articles represent a variety of theoretical and pedagogical approaches, and the collection will be appreciated by students and scholars alike.

'South Asian Media Cultures' examines a wide range of media cultures and practices from across South Asia, using a common set of historical, political and theoretical engagements.

This book is a collection of incisive articles on the interactions between Indian Popular Cinema and the political and cultural ideologies of a new post-Global India.