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Unfolds the central importance of broken hospitality in the director's work.

Hitchcock and Hospitality argues that the violation of hospitality is a driving force behind Alfred Hitchcock's work. From his television hosting to his cameo appearances to the premises of his stories, the Master of Suspense stages a crisis of authority over access to physical and virtual space. Using the familiarity of his work to make a larger contribution to both film and critical theory, this book engages the French tradition of theorizing hospitality with a keen eye for its feminist implications. But the House of Hitchcock unsettles the scene of hospitality further, down to its hold on the organization of social space. Reading for hospitality not just in grand estates and humble cottages but in cars and trains, motels and apartments, and other mobile and transient spaces-including the virtual space of film itself-Hitchcock and Hospitality tracks the drama of modern social exchange and unfolds the central importance of broken hospitality in the director's work. Films considered intensively include the familiar (Rebecca, Rope, Vertigo, North by Northwest, The Birds, and Marnie) as well as those that have received less critical attention (Mr. & Mrs. Smith, Saboteur, Lifeboat, and Dial M for Murder). The book also touches on many other Hitchcock films and on key episodes of Alfred Hitchcock Presents.

Applying various disciplinary perspectives with overlapping themes, contributors to this volume analyze the intersections of Disney studies and animal studies, demonstrating how common themes and issues transcend the context of Disney culture.

Through detailed analyses, contributors examine the roles played by animals in Disney culture, identifying recurring themes - like animal rights advocacy, the animal as Other, and the bond between humans and their dogs - that speak to the complex saga of human-animal relationships across time and cultural contexts.

Ranging from Disney's early-career projects like Silly Symphonies and World War II propaganda to both animated and live-action features including Alice in Wonderland (1951), Luca (2021), and Home on the Range (2004), and even representations of animals found at the theme parks, this volume offers a comprehensive study of the menagerie from insects and mice all the way up to lions and elephants.

This book investigates the creative processes within musical improvisation, combining perspectives from musicology and psychology. Drawing on research results, theoretical analyses, and sociocultural experiences, it discusses a new theoretical and methodological framework to study the actions, processes of self-constitution, musical making, and creativity of improvisers. Its central claims position improvisation as inherently creative due to its production of novelty within performance constraints, driven by unpredictability that demands constant adaptation and expands creative possibilities.

Building on an introductory chapter that sets out the interdisciplinary scope of the project -with insights from cultural psychology, performance studies, and musicology- the authors use theoretical frameworks as well as empirical and practice-based research to reframe improvisation as a fundamental site of human creativity, with a particular focus on Brazilian academic contexts. An insightful reflection on the social and political potential of improvisation as a space for navigating uncertainty, embracing the unknown, and fostering collective creation, this book is the perfect read for scholars in cultural and cognitive psychology, music studies, creativity studies, philosophy, and related disciplines.

A native son on the history, literature, culture, and characters of the Upstate New York he loves.

Over the last three-plus decades, Bill Kauffman has written about and interviewed upstate New York novelists, politicians, and civic activists who have given the region much of its pith, vitality, and distinctiveness. Upstaters collects the best of these, including profiles of upstate novelists Walter D. Edmonds, John Gardner, and Henry W. Clune; a portrait of congressional legend and World Bank president Barber Conable; appreciations of underknown writers Josephine Young Case, Martha Treichler, and Warren Hunting Smith; and a cast of characters that includes dying men and enterprising women, enfants terribles and eminences grises, doomed folksingers, and the cheapest man in America. These men and women do not exist in isolation; they give life to and draw life from their little places, and so their communities also slip into profile, from the literary capital of New York State (Utica) to the flame-tender of an all-but-extinct Olympic sport (Angelica). Kauffman, former vice president of the minor-league Batavia Muckdogs of the New York-Penn League (extinguished by Major League Baseball), writes also of the fight to maintain baseball in a Rust Belt town in a bottom-line age. His tone throughout is by turns amused, hortatory, wistful, angry, and earnest, but most of all animated by love for the part of New York that has nurtured, annoyed, and entertained him for a lifetime.

This edited volume offers a collection of essays which utilise innovative lines of research and enquiry in the context of cheap/popular print, demonstrating the benefits of a comparative approach, the possibilities offered by the use of new digital tools, and the impact of an intermedial approach on studying the circulation and adaptation of popular images.

Recent events have shown how uncivil communication by political elites on social media can spread through networked publics and contribute to real-world disruption. To explain the upstream dynamics of these processes, this book introduces the Spiral of Political Incivility on Social Media (SPIN), a model that conceptualizes incivility as a dynamic, three-stage process: the production of norm violations by political actors, their perception shaped by platform affordances and national contexts, and user reactions that may reinforce or dampen the original cues.

Drawing on a most-different-systems design, the study combines computational text analysis of 37,152 campaign posts across Facebook, Twitter, and Telegram in Brazil, Spain, and the United States, representative surveys (N = 2,337), and an analysis of 13.6 million user comments. The findings reveal three ideal-typical trajectories-reinforcing, reactive, and dampened spirals-demonstrating that political incivility online is not random noise but a context-dependent process shaped by the interaction of actors, platforms, and users. By identifying where these spirals accelerate or stall, the study highlights key leverage points for mitigating the diffusion of incivility in digital democracies.

Stephen Sharot traces the evolution of male stardom from its beginnings in 1909 through the United States' entrance into World War II in 1941, highlighting the influence of a changing American society on masculine identity and ideals.

Drawing on conceptual frameworks from both sociology and film studies including hegemonic masculinity, the civilizing process, and star studies, Sharot analyzes the various masculinities adopted by male stars like Richard Barthelmess, Thomas Meighan, William Powell, among others. In doing so, he demonstrates the integral relationship between trends in masculine personas, shifting gender relations, and changes to the nature of work and the labor force. As constructions and articulations of masculinity among emergent classes were transformed, he contends, so too were their representations.

While social oppression is typically framed in terms of prejudice and hate, D. Travers Scott contends that discrimination against marginalized groups is often rooted in a shockingly banal perspective: they simply get in the way.

Focusing primarily on disabled persons and queer persons in addition to other marginalized demographics including non-Christians and the aged, this book draws on histories and discourses of industrialization, technology, and modernist ideals of efficiency to propose a theory of discriminatory convenience.

Convenient Discrimination places representations of queerness and disability in media texts ranging from Appalachian folk songs to The Texas Chain Saw Massacre (1974) within the context of both historic and contemporary discussions surrounding health, media, technology, and social movements to form a variety of compelling case studies. These analyses are further bolstered by Scott's own autoethnographic accounts as a queer, formerly disabled activist-scholar.

This book skillfully combines media studies and archival research to articulate a nuanced cultural politics of convenient discrimination, ultimately demonstrating the utility of inconvenience as an analytic.

Two Vatos Talk Pop Cultura brings a leading Latinx media studies scholar, Frederick Luis Aldama, together with an award-winning television writer and producer, Peter Murrieta, to examine how Latinx representation has evolved-and stagnated-across seven decades of American TV, film, and pop culture.

Born from the popular podcast Mighty Peter and Professor Latinx but written in a collective voice with breakout discussions shaped by specific experiences and insights-Aldama's theoretical acumen and Murrieta's industry war stories-the book exemplifies what the authors call the collective shaping of "borderlands epistemology." It analyzes shows while accounting for the behind-the-scenes industry battles such as those fought in writers' rooms.

Two Vatos Talk Pop Cultura aims to be an essential book for students and lay readers alike, shedding light on who shapes representation-and why it matters.

Through a number of narrative case studies, this book explores how innovative news-academic partnerships are reshaping the landscape of local journalism.

Local news is facing a dire outlook across the United States, and many rural and urban communities increasingly have little to no access to credible or comprehensive local news and information. As factors including the rise of online news sources and the consolidation of media ownership contribute to the decline in local news outlets, the battle to control local news - and therefore, the power to craft influential messages to communities -- has only intensified in recent years. In this book, Lara Salahi explores how news-academic partnerships are emerging as a viable business model for local news in which higher education institutions can be a strong contender against other entities in local news production and ownership. By examining successful case studies and innovative models, Salahi demonstrates how collaborations between local news outlets and academic institutions can provide financial stability, foster community engagement, and ensure the continuation of high-quality local news coverage. Through these partnerships, she posits, local news outlets can secure resources, expand their reach, and effectively serve as the bedrock of democratic societies by providing accurate, relevant, and community-centric news and information. Ultimately, this book explores both the opportunities and challenges offered by the transformational approach of news-academic partnerships to not only preserve the integrity of journalism, but also to enhance media literacy while ensuring the long-term survival of vital local news outlets.

To live through a film festival is to live through an intensive emotive experience of film viewings, encounters with friends and strangers, travel, displacement and the exploration of new spaces - both real and imaginary. It is the disorientating experience of this modern-day carnivalesque which marks a time out of time of a film festival when the norms of the everyday cinema-based or home-based film viewing experience are suspended, challenged or upended. Although some aspects of the film festival experience have changed over a long history of film festival cultures there are others that remain constant: an effort emotional and physical to attend a festival, excitement or festival buzz of being part of a festival, a sense of community of viewers rooted in the individual response to films, and the impact of seeing a film in the festival environment which ranges from pleasurable and inspiration through boring to outrages and abject.

Dorota Ostrowska's book explores the uniqueness of this occasionally irreverent, often disruptive and at times unsettling festival experience for the diverse festival audiences through the concept of festive chronotopes. It argues the importance of space for our understanding of festival experience as it is this space, intimate and collective, that shapes film festival programmes, moulds curational and programming practice and critical response, and drives the desire for the festive experience to be repeated and reinvented on annual basis.

The book explores the idea of festive chronotopes in relation to a myriad of European film festivals, international, human rights, documentary and migrant, each of which is seen as a manifestation of a particular festive chronotope: imaginary, utopic, crisis, migrant and indigenous. Each of the chronotopes is presented as an expression of a different set of spatial relationships that bound the place, audiences and films of a film festival together.

Occupied Bodies, Recognition, and Riot is a study of the transition from traditional popular culture to the first forms of industrial popular culture among the white working population of Philadelphia. Building from a focus on ambivalent masculinity, the book argues that traditional culture was animated by apprehensions concerning male bodies and that the anxieties and pain associated with the representation of male bodies drove the dramatic transformation of Philadelphia popular culture after 1825.

Ric Caric looks at transformations in white working-class culture in Philadelphia in the decades preceding the Civil War. Considering a wide range of cultural texts songs, diaries, newspaper accounts of workplace leisure, fire company records, medical testimonies, radical political agitation, temperance activism, race riots, and minstrel performances, the author suggests that this time was a period of transformation, particularly in regard to displays and expressions of masculinity.

Beyond Ballot Boxes explores how social media has transformed electoral politics by influencing voter behavior, political communication, and democratic integrity. The book introduces Digital Democracy Disruption (D (3)) Theory to analyze how misinformation, algorithmic bias, and computational propaganda shape elections worldwide. By comparing case studies from the United States, Bangladesh, India, and Pakistan, the authors examine the impact of digital media in both developed and emerging democracies. The book also discusses regulatory challenges, misinformation countermeasures, and policy recommendations for preserving democratic resilience in the digital era. Tracing the historical evolution of media from print to digital platforms, the book highlights the role of traditional media in shaping public opinion before examining how social media has democratized access to information while simultaneously fostering misinformation and ideological divides. It explores the mechanisms of digital propaganda, distinguishing between misinformation (false but unintentional content) and disinformation (deliberate manipulation). The authors discuss the rise of deepfakes, troll farms, and bot-driven campaigns, with case studies including the Cambridge Analytica scandal and the spread of WhatsApp-driven misinformation in South Asia.

Explores a wide range of utopias and dystopias in film and literature and their important relationship to our present moment.

Wastelands and Wonderlands challenges readers, in these uniquely dystopian times, to reevaluate their ideas about utopia and dystopia. Bringing together film, literary, and utopian studies scholars from across the world, this interdisciplinary collection explores a wide range of utopias and dystopias in film and literature, from visionaries as varied as William Morris and George Lucas to such fresh new and distinctive voices as Nana Kwame Adjei-Brenyah and N. K. Jemisin. Contributors dismantle myths about utopian and dystopian film, literature, and television and explore the nature of utopian and dystopian fiction and its important relationship to our present moment. Whether through ecocritical work, work aimed at decolonizing utopian studies, debates about our relationship with technology and the nonhuman, forms of utopian hope and pessimism, or new thinking about cinematic and literary techniques and production, these essays offer fresh insight into the subject area and something to interest any reader.

This book proposes a new perspective on mapping and measuring urban live music ecologies. Music makes a significant economic and cultural contribution to cities, and each local context produces a complex live music ecosystem composed of musical and non-musical actors, infrastructures and regulatory frameworks. This complexity presents a challenge for policymakers and businesses seeking to make informed strategic decisions. To address this challenge, the volume explores two core themes: firstly, the valuation and measurement of live music ecologies by recognising the interdependencies between venues, stakeholders, infrastructures and policy environments. Secondly, it considers mapping as an analytical tool for identifying spatial patterns, relationships and inequalities within live music ecosystems. Together, these approaches help address key policy questions and offer evidence-based insights to support more informed decisionmaking for live music industries and communities in urban environments.

In Reframing the Long 1960s Estella Tincknell explores the way British crime films and television series made during or about that extended decade have been marked by ongoing tensions between nostalgic myths of masculinity, power and whiteness and attempts to challenge or transform those dominant narratives.

Tincknell blends cultural analysis and original research with close reading to examine a wide variety of crime subgenres from police procedurals and heist films to gangster narratives and thrillers, comparing the approaches of texts such as Z-Cars (1962-1978), Robbery (1967), Get Carter (1971) and The Sweeney (1975-1978) with those of period dramas aimed at twenty-first century audiences, including The Great Train Robbery (2013), Legend (2015), The Trial of Christine Keeler (2019) and Endeavour (2012-2023). Tincknell identifies the important intersections between text, genre, nostalgia and popular memory as she traces how persistent myths about crime and criminality-and about "the long 1960s" as a defining period for British cultural identity-have been represented and recirculated.

Changes the conversation about risk by exposing the field's historical complicity with extractive industries and building new methodologies for future risk communication research.

Technical and professional communication has a problem with how the concept of risk has been considered alongside extractive technologies. Throughout its history, the practice, teaching, and research of technical and professional communication has been embedded within, complicit with, and indebted to these industries. These industries have also created massive global harm to people and ecosystems, both through accidents as well as the slow violence of pollution and climate change. In response, this book seeks to "undermine" how technical and professional communication works with risk by reconsidering implications that traverse a greater span of time and geography. It revises the field's risk methodology and encourages future researchers to navigate the scope and scale of their projects. Along with new theoretical framing, the text presents three detailed case studies illustrating how careful consideration of scope and scale can impact how technical and professional communication engages extraction and risk, showcasing to new and experienced technical communication researchers alike how risk communication is about to enter a new era.

Starting in the early eighteenth century, importation was New Orleans's lifeblood, as coffee and other agricultural goods moved through the city's port and fanned out to all corners of the emerging nation. New Orleans became the United States' top coffee importer in the nineteenth century, jockeying for position with larger port cities. As the century progressed, coffee importers and brokers built ever-stronger connections between New Orleans and the national coffee trade.

Because New Orleans was such a coffee town, coffee culture began infiltrating the city's practices. Coffee exchanges opened, creating spaces to share new ideas and partake in important cultural conversations over coffee. For guests, coffee was prepared at home and served black or cafe au lait with milk. The French Market and similar venues boasted coffee stands, and enslaved women such as Rose Nicaud bought their freedom by selling coffee from carts in the market.

Heading into the twentieth century, Cafe du Monde and other coffee stands became integral to New Orleans traditions, and Louisiana coffee brands such as Community Coffee and PJ's made a name for themselves on grocery shelves across the country. When someone wasn't enjoying coffee at home, they drank coffee with chicory in the French Market-a tradition now closely associated with New Orleans, despite having its origins in Holland and France. Other cultures have also made an impact on the coffee culture of the Crescent City. The Vietnamese integrated New Orleans coffee practices into their own, using Cafe du Monde coffee in their traditional coffee preparation.

Modern New Orleans has become more interested in specialty coffee grown on small farms and ethically harvested. Multiple coffee roasters call New Orleans home and import their coffee from small farms in Guatemala, Brazil, and Colombia. The next generation of coffee production is creating a heightened interest in farming practices and sustainability, with coffee consumers gravitating toward brands that provide a living wage to farmers. Coffee Culture New Orleans tells the story of the Crescent City's flourishing coffee traditions from its founding to the present.