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This book examines the circulation and viewership of Bollywood films and filmi modernity in Bangladesh. The writer poses a number of fundamental questions: what it means to be a Bangladeshi in South Asia, what it means to be a Bangladeshi fan of Hindi film, and how popular film reflects power relations in South Asia. The writer argues that partition has resulted in India holding hegemonic power over all of South Asia’s nation-states at the political, economic, and military levels–a situation that has made possible its cultural hegemony. The book draws on relevant literature from anthropology, sociology, film, media, communication, and cultural studies to explore the concepts of hegemony, circulation, viewership, cultural taste, and South Asian cultural history and politics.
Media, Ideology and Hegemony provides what Raymond Williams once called the "extra edge of consciousness" that is absolutely essential to create, both on and offline, a better, more open, more equitable, and more democratic world.
Contrary to optimistic visions of a free internet for all, the problem of the ‘digital divide’ – the disparity between those with access to internet technology and those without – has persisted for close to twenty-five years. In this textbook, Jan van Dijk considers the state of digital inequality and what we can do to tackle it. Through an accessible framework based on empirical research, he explores the motivations and challenges of seeking access and the development of requisite digital skills. He addresses key questions such as: Does digital inequality reduce or reinforce existing, traditional inequalities? Does it create new, previously unknown social inequalities? While digital inequality affects all aspects of society and the problem is here to stay, Van Dijk outlines policies we can put in place to mitigate it. The Digital Divide is required reading for students and scholars of media, communication, sociology, and related disciplines, as well as for policymakers.
This insightful book explores the intense and ultimately fleeting moment in 1980s America when the future looked Japanese. Would Japan's remarkable post–World War II economic success enable the East Asian nation to overtake the United States? Or could Japan's globe-trotting corporations serve as a model for battered U.S. industries, pointing the way to a future of globalized commerce and culture? While popular films and literature recycled old anti-Asian imagery and crafted new ways of imagining the "yellow peril," and formal U.S.-Japan relations remained locked in a holding pattern of Cold War complacency, a remarkable shift was happening in countless local places throughout the United States: Japanese goods were remaking American consumer life and injecting contemporary globalization into U.S. commerce and culture. What impact did the flood of billions of Japanese things have on the ways Americans produced, consumed, and thought about their place in the world? From autoworkers to anime fans, Consuming Japan introduces new unorthodox actors into foreign-relations history, demonstrating how the flow of all things Japanese contributed to the globalizing of America in the late twentieth century.
Popular usage equates hegemony with dominance–a meaning far from Antonio Gramsci′s original concept where hegemony appears as a contested culture that meets the minimum needs of the majority while serving the interests of the dominant class. This text is the first to present cultural hegemony in its original form–as a process of consent, resistance, and coercion. Hegemony is illustrated with examples from American history and contemporary culture, including practices that represent race, gender, and class in everyday life. U.S. cultural hegemony depends in part on how well media, government, and other dominant institutions popularize beliefs and organize practices that promote individualism and consumerism. Corporate dominance and market values reign only through the consent of the majority, which, for the time being - finds material, political, and cultural benefit from existing social relations. As deep social contradictions undermine brittle hegemonic relations, the subordinate majority - including blacks, women, and workers will seek a new cultural hegemony that overcomes race, gender, and class inequality.
Curriculum Windows: What Curriculum Theorists of the 1990s Can Teach Us about Schools and Society Today is an effort by students of curriculum studies, along with their professor, to interpret and understand curriculum texts and theorists of the 1990s in contemporary terms. The authors explore how key books/authors from the curriculum field of the 1990s illuminate new possibilities forward for us as scholar educators today: How might the theories, practices, and ideas wrapped up in curriculum texts of the 1990s still resonate with us, allow us to see backward in time and forward in time – all at the same time? How might these figurative windows of insight, thought, ideas, fantasy, and fancy make us think differently about curriculum, teaching, learning, students, education, leadership, and schools? Further, how might they help us see more clearly, even perhaps put us on a path to correct the mistakes and missteps of intervening decades and of today? The chapter authors and editor revisit and interpret several of the most important works in the curriculum field of the 1990s. The book's Foreword is by renowned curriculum theorist William H. Schubert.
This fascinating book demonstrates how colonial exploitation of the Caribbean led directly to contemporary forms of consumption of the region and its products, and calls for a global ethics of consumer responsibility.
A transnational perspective allows the authors to investigate the diversity of consumer cultures and the interaction between them. They look at the genealogy of the modern consumer and the development of consumer cultures.
"To be continued..." Whether these words fall at the end of The Empire Strikes Back or a TV commercial flirtation between coffee-loving neighbors, true fans find them impossible to resist. Ever since the 1830s, when Charles Dickens's Pickwick Papers enticed a mass market for fiction, the serial has been a popular means of snaring avid audiences. In Consuming Pleasures jennifer Hayward establishes serial fiction as a distinct genre-one defined by the activities of its audience rather than by the formal qualities of the text. Ranging from installment novels, mysteries, and detective fiction of the 1800s to the television and movie series, comics, and advertisements of the twentieth century, serials are loosely linked by what may be called, after Wittgenstein, "family resemblances." These traits include intertwined subplots, diverse casts of characters, dramatic plot reversals, suspense, and such narrative devices as long-lost family members and evil twins. Hayward chooses four texts—Dickens's novel Our Mutual Friend (1864-65), Milton Caniff's comic strip Terry and the Pirates (1934-46), and the soap operas All My Children (1970-) and One Life to Live (1968-)—to represent the evolution of serial fiction as a genre, and to analyze the peculiar draw serials have upon their audiences. Although the serial has enjoyed great marketplace success, traditional literary and social critics have denounced its ties to mass culture, claiming it preys upon passive fans. But Hayward argues that active serial audiences have developed identifiable strategies of consumption, such as collaborative reading and attempts to shape the production process.
As the leading fan magazine in the postwar era, Photoplay constructed female stars as social types who embodied a romantic and leisured California lifestyle. Addressing working- and lower-middle-class readers who were prospering in the first mass consumption society, the magazine published not only publicity stories but also beauty secrets, fashion layouts, interior design tips, recipes, advice columns, and vacation guides. Postwar femininity was constructed in terms of access to commodities in suburban houses as the site of family togetherness. As the decade progressed, however, changing social mores regarding female identity and behavior eroded the relationship between idolized stars and worshipful fans. When the magazine adopted tabloid conventions to report sex scandals like the Debbie-Eddie-Liz affair, stars were demystified and fans became scandalmongers. But the construction of female identity based on goods and performance that resulted in unstable, fragmented selves remains a legacy evident in postmodern culture today.