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Frontmatter --Contents --Introduction --Gazing Upon the Cyborg as An Unreliable Cartoon: On Some Issues from Superior Iron Man (2014-2015) --Robots which draw. How BioArt rethinks Body and Hybridity --Artificial human beings and the power of literature: Villiers de l'Isle-Adam, Holmberg, and Piglia --The Aesthetics of Bodies in Translation: From The Water-Babies to Real Humans --From Disability to Enhancement: Paradoxical Representations of Prosthetic Bodies in the Media Discourse --Disability as Malleability: The Prosthetic Metaphor, Merleau-Ponty and the Case of Aimee Mullins --The Protean Self --Detecting Bodies: The Dystopian Detective Film and Narratives of Reproduction --The Cinematic Body --Embodying the Reader: Perspectives on Fiction, Cognition, and the Body --Medial Bodies: Forays into Artistic and Philosophical- Anthropological Research --The Aberrant Medial Body --List of Authors

This Handbook is a detailed introduction to the numerous academic perspectives that apply to the study of the internet as a political, social and communicative phenomenon. Covering both practical and theoretical angles, established researchers from around the world discuss everything: the foundations of internet research appear alongside chapters on understanding and analyzing current examples of online activities and artifacts. The material covers all continents and explores in depth subjects such as networked gaming, economics and the law. The sheer scope and breadth of topics examined in this volume, which ranges from on-line communities to e-science via digital aesthetics, are evidence that in today's world, internet research is a vibrant and mature field in which practitioners have long since stopped considering the internet as either an utopian or dystopian "new" space, but instead approach it as a medium that has become an integral part of our everyday culture and a natural mode of communication. This Second International Handbook of Internet Research is an updated version of the first International Handbook of Internet Research that came out in 2010. Since then, the field has changed, and this new version retains a number of the key updated chapters from the first handbook, as well as completely new chapters

Which theoretical and methodological approaches of contemporary cultural criticism resonate within the field of disability studies? What can cultural studies gain by incorporating disability more fully into its toolbox for critical analysis? Culture - Theory - Disability features contributions by leading international cultural disability studies scholars which are complemented with a diverse range of responses from across the humanities spectrum.This essential volume encourages the problematization of disability in connection with critical theories of literary and cultural representation, aesthetics, politics, science and technology, sociology, and philosophy.It includes essays by Lennard J. Davis, Rosemarie Garland-Thomson, Dan Goodley, Robert McRuer and Margrit Shildrick.

Popkultur und Wissenschaft haben eines gemeinsam: Sie sind auf Dauer gestellte Zitationsmaschinen, die durch ständiges Referieren und Recyclen funktionieren. Dabei dient die Wiederverwertung und Entwicklung oftmals verschütteter Ideen anderer im Eigenen den Aktanten der Popkultur, um Aufmerksamkeit zu erregen; in der Wissenschaft hingegen wählt man sich als Aktant in die Netzwerke bisheriger Ansätze ein, um Erkenntnisse zu gewinnen. Der Band beschäftigt sich in einem ersten Teil mit grundlegenden transdisziplinären Überlegungen zu den reflexiven Zusammenhängen von Kultur(en) und Theorie(n). Die Fallstudien des zweiten Teils gehen auf konkrete Phänomene von Kulturbeobachtung wie Medienereignisse, Werbung, Mode, Musik und Theater ein. Mit Beiträgen von Jochen Bonz, Mercedes Bunz, Andreas Hepp, Silke Hohmann, Theo Hug, Christoph Jacke, Sebastian Jünger, Katrin Keller, Eva Kimminich, Joachim Knape, Birgit Richard, Siegfried J. Schmidt, Richard Shusterman, Mark Terkessidis, Angela Tillmann, Jörg van der Horst, Ralf Vollbrecht, Martin Zierold und Guido Zurstiege.

Cover -- Table of Contents -- Introduction: Worlds, Today / Marta Boni -- Section 1: Theories of World Building -- 1. The Aesthetics of Proliferation / Marie-Laure Ryan -- 2. Building Science-Fiction Worlds / Paolo Bertetti -- 3. "He Doesn't Look Like Sherlock Holmes" : The Truth Value and Existential Status of Fictional Worlds and their Characters / Julien Lapointe -- 4. "Visible World" : The Atlas as a Visual Form of Knowledge and Narrative Paradigm in Contemporary Art / Cristina Baldacci -- Section 2: Economies of World Building -- 5. A World of Disney: Building a Transmedia Storyworld for Mickey and his Friends / Matthew Freeman -- 6. World-Building Logics and Copyright: The Dark Knight and the Great Detective / Roberta Pearson -- 7. Battleworlds: The Management of Multiplicity in the Media Industries / Derek Johnson -- 8. Platform Producer Meets Game Master: On the Conditions for the Media Mix / Marc Steinberg -- 9. Narrative Ecosystems: A Multidisciplinary Approach to Media Worlds / Veronica Innocenti and Guglielmo Pescatore -- Section 3: Immersion -- 10. The Building and Blurring of Worlds: Sound, Space, and Complex Narrative Cinema / Justin Horton -- 11. Beyond Immersion: Absorption, Saturation, and Overflow in the Building of Imaginary Worlds / Mark J.P. Wolf -- 12. Zombie Escape and Survival Plans: Mapping the Transmedial World of the Dead / Bernard Perron -- 13. MMORPG as Locally Realized Worlds of Action / Laurent Di Filippo -- Section 4: Media as World-Building Devices -- 14. The Worries of the World(s): Cartoons and Cinema / Karen Redrobe (formerly Beckman) -- 15. Linguistic Terrain and World Time: Chinese Media Theories and Their World Imaginations / Victor Fan -- 16. The Worlds Align: Media Convergence and Complementary Storyworlds in Marvel's Thor: The Dark World / Dru Jeffries.

Dmitrii Shostakovich dedicated his 7th Symphony to the surrounded city of Leningrad. The historical setting made this work less an aesthetic entity than a political issue, whose propaganda value as a clarion call against Hitler's Germany was addressed in the daily press -- both within the Soviet Union and abroad. The Soviet and American media, as well as Shostakovich, spun an interpretive gauze around the symphony and created a myth that allowed itself to be deployed with Soviet and American characteristics amid the ideological struggle. Adapted from the source document.

Wie hat sich die Kulturproduktion in der Folge des Terrors verändert? Die Anschläge vom 11. September 2001 stellen nicht nur eine politische und gesellschaftliche Zäsur dar, sie lassen sich auch als Trauma des Denkens betrachten. Im Mittelpunkt dieses Bandes stehen die Auswirkungen von »9/11« auf kulturelle und künstlerische Diskurse. Dabei geht es nicht nur um eine Inventarisierung von Repräsentationen des Terrors in Medien, visueller Kunst und Literatur; vielmehr wird aufgezeigt, wie sehr »9/11« Denkmodalitäten verändert hat. Aus unterschiedlichen Perspektiven untersuchen die interdisziplinären Beiträge den Zäsurcharakter von »9/11« in Theoriebildung, Schrift- und Bildmedien.

High-Tech Trash analyzes creative strategies in glitch, noise, and error to chart the development of an aesthetic paradigm rooted in failure. Carolyn L. Kane explores how technologically influenced creative practices, primarily from the second half of the twentieth and first quarter of the twenty-first centuries, critically offset a broader culture of pervasive risk and discontent. In so doing, she questions how we continue onward, striving to do better and acquire more, despite inevitable disappointment. High-Tech Trash speaks to a paradox in contemporary society in which failure is disavowed yet necessary for technological innovation. "Leonard Cohen sang 'There's a crack in everything…that's how the light gets in.' Here, Carolyn Kane teaches us how to see that light, one crack at a time." FRED TURNER, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties "Kane profiles art practices and media discourses that exploit and celebrate, rather than filter or suppress, all kinds of errors and noises. A welcome intervention in a number of discursive fields." PETER KRAPP, author of Noise Channels: Glitch and Error in Digital Culture "An original work of scholarship that addresses some of the most pervasive phenomena and foundational questions in the contemporary media environment." ROBERT HARIMAN, coauthor of The Public Image: Photography and Civic Spectatorship CAROLYN L. KANE is Associate Professor of Communication at Ryerson University and author of Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code.

This volume contains previously unpublished writings and hardly known texts of the philosopher, writer and intellectual Günther Anders (1902-92) on art and film. The writings date from the 1920s and 1930s, from Anders' years in exile in Paris (1933-36) and the USA (1936-50), especially from his years in Hollywood (1939-43), as well as from the post-war period up to the 1950s. These writings from the author's estate are not only an important source for art and cultural studies, but also put a new complexion on Anders' oeuvre, in particular on his famous criticism of mass media from the first volume of his main work "The Outdatedness of Man" from 1956 ("The World as a Phantom and Matrix"). - Dieser Band versammelt erstmals bislang unveröffentlichte Schriften und verstreut publizierte Texte des Philosophen, Schriftstellers und streitbaren Intellektuellen Günther Anders (1902-92) zu Kunst und Film. Die Arbeiten stammen aus den 1920er und 1930er Jahren, aus Anders' Emigrationszeit in Paris (1933-36) und den USA (1936-50), insbesondere aus seiner Zeit in Hollywood (1939-43), sowie aus der unmittelbaren Nachkriegszeit bis in die 1950er Jahre hinein. Die aus dem Nachlass des Autors edierten Texte sind nicht nur eine wichtige kunst- und kulturwissenschaftliche Quelle, sondern erlauben auch einen neuen Blick auf Anders' Gesamtwerk, insbesondere auf seine viel rezipierte Medienkritik aus dem ersten Band seines Hauptwerks "Die Antiquiertheit des Menschen" aus dem Jahr 1956 ("Die Welt als Phantom und Matrize").

How is human embodiment transformed in an age of algorithms? How do post-cinematic media technologies such as AI, VR, and robotics target and re-shape our bodies? 'Post-Cinematic Bodies' grapples with these questions by attending both to mundane devices - such as smartphones, networked exercise machines, and smart watches and other wearables equipped with heartrate sensors - as well as to new media artworks that rework such equipment to reveal to us the ways that our fleshly existences are increasingly up for grabs. Through an equally philosophical and interpretive analysis, the book aims to develop a new aesthetics of embodied experience that is attuned to a new age of predictive technology and metabolic capitalism.

This piece examines the most recent work of the acclaimed Mexican director Guillermo del Toro, focusing on his use of intertextuality, self-referentiality and subversion as stylistic elements that to simultaneously critique and celebrate cinema Through his unique visual aesthetics and mastering of the mise-en-scène, del Toro explores themes of identity, displacement and humanity Famed for his use of 'monster-as-metaphor' narratives, his work is rich in cinematic language and iconography that acts as both an homage to his idols and inspiration for his fans.Del Toro acts as a film historian, a bibliophile, a critic and a fan, championing those on the edges of society while rejoicing in his Mexican heritage.

Black women are largely invisible in mainstream media's coverage of police brutality, despite the rise of the Black Lives Matter (BLM) movement. Breonna Taylor's killing by police in March 2020 gained some media attention after George Floyd's killing. To engage with BLM, O, The Oprah Magazine and Vanity Fair released special issues in September 2020 featuring Taylor's portrait on the covers. This study examined the Twitter response to these covers to illuminate how mass media commodify Black womanhood. A critical discourse analysis (CDA) using an intersectional feminist lens revealed themes related to the profitability of Black death, gendered Black allegiance, and Black woman aesthetics.

Introduction / Vicki Callahan and Virginia Kuhn -- The New "Material Girls": Madonna, "Millenial" Pop Divas, and the Politics of Race and Gender / Shelleen Greene -- A Window Seat to History: Erykah Badu's Dealey Plaza Remix / Vicki Callahan -- The Possibilities of Liminality: Black Women's Future Texts as Productive Chaos / Nina Cartier -- Re-Creating Niobe: The Construction and Re-Construction of Black Femininity through Games and the Social Psychology of the Avatar / Nettrice R. Gaskins -- "Ghana Meets the World": Remixing Popular Culture on OMG! Ghana / Lorien R. Hunter -- Adapting Lisbeth for Hollywood: The Politics and Franchising Practices behind Sony's GWTDT Re-boot / Courtney Brannon Donoghue -- Recasting The Best Years of Our Lives: Gender, Revision, and Military Women in the Veteran's Home-coming Film / Anna Froula -- Television's Queer Future? The Possibilities and Limitations of Web Series, Digital Distribution, and LGBT Representation in Husbands / Melanie E. S. Kohnen -- Sucker Punch and the Aesthetics of Denial: Future Perfect Tense / Virginia Kuhn

Die Verzahnung von Fernsehen und Pop(kultur) wurde von der Forschung bislang vernachlässigt. Dabei bedient sich das Fernsehen schon früh popästhetischer Verfahren – und Musiker, Künstler sowie Literaten nutzen bereits seit den 1960ern das Fernsehen für eigene Inszenierungsstrategien, um einer maroden Hochkultur mit einer mediensouveränen Popästhetik zu begegnen. Der Band schließt die Forschungslücke und geht den historischen und ästhetischen Berührungspunkten von TV und Pop nach. Neben einzelnen Pop-Akteuren (Warhol, Schlingensief, Neumeister, Kracht) widmen sich die interdisziplinären Beiträge auch aktuell diskutierten, popaffinen Genres und Entwicklungen (z.B. Poetry Slams, Scripted Reality Soaps, Videoclips sowie Popfeminismus)