Finalist: PROSE Awards 2023 - Media and Cultural Studies

"Blisteringly witty." Kirkus
"An essential guide." Publisher's Weekly
"Timely." Booklist

When Nina Jankowicz's first book on online disinformation was profiled in The New Yorker, she expected attention but not an avalanche of abuse and harassment, predominantly from men, online.

All women in politics, journalism and academia now face untold levels of harassment and abuse in online spaces. Together with the world's leading extremism researchers, Jankowicz wrote one of the definitive reports on this troubling phenomenon.

Drawing on rigorous research into the treatment of Kamala Harris - the first woman vice-president - and other political and public figures, Nina also uses her own experiences to provide a step-by-step plan for dealing with harassment, abuse, doxing and disinformation in online spaces.

The result is a must-read for researchers, journalists and all women with a profile in the online space.

When it comes to evangelical Christianity, the internet is both a refuge and a threat. It hosts Zoom prayer groups and pornographic videos, religious revolutions and silly cat videos. Platforms such as social media, podcasts, blogs, and digital Bibles all constitute new arenas for debate about social and religious boundaries, theological and ecclesial orthodoxy, and the internet's inherent danger and value.

In The Digital Evangelicals, Travis Warren Cooper locates evangelicalism as a media event rather than as a coherent religious tradition by focusing on the intertwined narratives of evangelical Christianity and emerging digital culture in the United States. He focuses on two dominant media traditions: media sincerity, immediate and direct interpersonal communication, and media promiscuity, communication with the primary goal of extending the Christian community regardless of physical distance. Cooper, whose work is informed by ethnographic fieldwork, traces these conflicting paradigms from the Protestant Reformation through the rise of the digital and argues that the tension is culminating in a crisis of evangelical authority. What counts as authentic interaction? Who has authority over the circulation of information?

While many studies claim that technology influences religion, The Digital Evangelicals reveals how Protestant metaphors and discourses shaped the emergence of the internet and explores what this relationship with global new media means for evangelicalism.

The diary of radio correspondent James Cassidy presents a unique view of World War II as this reporter followed the Allied armies into Nazi Germany.
James Joseph Cassidy was one of 362 American journalists accredited to cover the European Theater of Operations between June 7, 1944, and the war's end. Radio was relatively new, and World War II was its first war. Among the difficulties facing historians examining radio reporters during that period is that many potential primary documents-their live broadcasts-were not recorded. In NBC Goes to War, Cassidy's censored scripts alongside his personal diary capture a front-line view during some of the nastiest fighting in World War II as told by a seasoned NBC reporter.
James Cassidy was ambitious and young, and his coverage of World War II for the NBC radio network notched some notable firsts, including being the first to broadcast live from German soil and arranging the broadcast of a live Jewish religious service from inside Nazi Germany while incoming mortar and artillery shells fell 200 yards away. His diary describes how he gathered news, how it was censored, and how it was sent from the battle zone to the United States. As radio had no pictures, reporters quickly developed a descriptive visual style to augment dry facts. All of Cassidy's stories, from the panic he felt while being targeted by German planes to his shock at the deaths of colleagues, he told with grace and a reporter's lean and engaging prose.
Providing valuable eyewitness material not previously available to historians, NBC Goes to War tells a "bottom-up" narrative that provides insight into war as fought and chronicled by ordinary men and women. Cassidy skillfully placed listeners alongside him in the ruins of Aachen, on icy back roads crawling with spies, and in a Belgian bar where a little girl wailed "Les Americains partent!" when Allied troops retreated to safety, leaving the town open to German re-occupation. With a journalistic eye for detail, NBC Goes to War unforgettably portrays life in the press corps. This newly uncovered perspective also helps balance the CBS-heavy radio scholarship about the war, which has always focused heavily on Edward R. Murrow and his "Murrow's Boys."

Since at least the time of Plato, religious explanations of the metaphysical foundations of morality have typically fallen into one of two camps: natural law theory, according to which morality is fundamentally explained by facts about human nature-facts that God is responsible for-and divine command theory, which holds that moral obligations arise directly from God's commands or some other prescriptive act of the divine will. J. Caleb Clanton and Kraig Martin offer an accessible analysis of these traditional views, reconstruct the various arguments for and against them, and offer an extended consideration of the historical emergence of the divide between these positions within the Christian tradition. Nature and Command goes on to develop and defend a theory that combines these two views-a metaethical approach that has not yet received the scholarly attention it deserves.

Along the way, the authors make use of underexplored theological resources drawn from the Stone-Campbell movement, a nineteenth-century restoration movement that culminated in one of the largest Protestant groups in America by the dawn of the twentieth century. Nature and Command summons the resources of this particular Christian heritage-its first principles, call for unity, and ecumenism-to solve one of the great dilemmas of moral philosophy and theology dating back to Plato's Euthyphro.

This historically aware, argumentatively rigorous, and highly readable volume will serve as a valuable resource for moral philosophy and ethics, as well as for mining the Stone-Campbell Restoration tradition for historical and theological insights.

The Tang Dynasty (618-907 CE) is regarded as the golden age of classical Chinese literature. Compiled by award-winner author William H. Nienhauser, Jr., and Michael E. Naparstek, this is the first English-language biographical dictionary on this critical era in Chinese literary culture. The Biographical Dictionary of Tang Dynasty Literati contains 140 entries, including major figures like Du Fu and Li Bo, as well as entries on lesser-studied figures including Buddhist, Daoist, and women writers. To provide a complete sense of these men and women, each piece contains an overview of the subject's life, supported by translations and close readings of their writing and concludes with a bibliography of original sources, critical editions, translations, and studies in multiple languages. Appended are a literary timeline of the Tang and a glossary of official titles making the Dictionary an indispensable resource for all interested in classical Chinese literature.

A playful reflection on animals and video games, and what each can teach us about the other

Video games conjure new worlds for those who play them, human or otherwise: they've been played by cats, orangutans, pigs, and penguins, and they let gamers experience life from the perspective of a pet dog, a predator or a prey animal, or even a pathogen. In Game, author Tom Tyler provides the first sustained consideration of video games and animals and demonstrates how thinking about animals and games together can prompt fresh thinking about both.

Game comprises thirteen short essays, each of which examines a particular video game, franchise, aspect of gameplay, or production in which animals are featured, allowing us to reflect on conventional understandings of humans, animals, and the relationships between them. Tyler contemplates the significance of animals who insert themselves into video games, as protagonists, opponents, and brute resources, but also as ciphers, subjects, and subversive guides to new ways of thinking. These animals encourage us to reconsider how we understand games, contesting established ideas about winning and losing, difficulty settings, accessibility, playing badly, virtuality, vitality and vulnerability, and much more.

Written in a playful style, Game draws from a dizzying array of sources, from children's television, sitcoms, and regional newspapers to medieval fables, Shakespearean tragedy, and Edwardian comedy; from primatology, entomology, and hunting and fishing manuals to theological tracts and philosophical treatises. By examining video games through the lens of animals and animality, Tyler leads us to a greater humility regarding the nature and status of the human creature, and a greater sensitivity in dealings with other animals.

Why our failure to consider the power of animals is to our deep detriment

Animals are staging a revolution-they're just not telling us. From radioactive boar invading towns to jellyfish disarming battleships, this book threads together news accounts and more in a powerful and timely work of creative, speculative nonfiction that imagines a revolution stirring and asks how humans can be a part of it. If the coronavirus pandemic has taught us anything, it is that we should pay attention to how we bump up against animal worlds and how animals will push back. Animal Revolution is a passionate, provocative, cogent call for us to do so.

Ron Broglio reveals how fur and claw and feather and fin are jamming the gears of our social machine. We can try to frame such disruptions as environmental intervention or through the lens of philosophy or biopolitics, but regardless the animals persist beyond our comprehension in reminding us that we too are part of an animal world. Animals see our technologies and machines as invasive beings and, in a nonlinguistic but nonetheless intensive mode of communicating with us, resist our attempts to control them and diminish their habitats. In doing so, they expose the environmental injustices and vulnerabilities in our systems.

A witty, informative, and captivating work-at the juncture of posthumanism, animal studies, phenomenology, and environmental studies-Broglio reminds us of our inadequacy as humans, not our exceptionalism.

Global awareness of autism has skyrocketed since the 1980s, and popular culture has caught on, with film and television producers developing ever more material featuring autistic characters. Autism in Film and Television brings together more than a dozen essays on depictions of autism, exploring how autistic characters are signified in media and how the reception of these characters informs societal understandings of autism.

Editors Murray Pomerance and R. Barton Palmer have assembled a pioneering examination of autism's portrayal in film and television. Contributors consider the various means by which autism has been expressed in films such as Phantom Thread, Mercury Rising, and Life Animated and in television and streaming programs including Atypical, Stranger Things, Star Trek: The Next Generation, and Community. Across media, the figure of the brilliant, accomplished, and "quirky" autist has proven especially appealing. Film and television have thus staked out a progressive position on neurodiversity by insisting on screen time for autism but have done so while frequently ignoring the true diversity of autistic experience. As a result, this volume is a welcome celebration of nonjudgmental approaches to disability, albeit one that is still freighted with stereotypes and elisions.

In today's digital era, women's voices are heard everywhere-from smart home devices to social media platforms, virtual reality, podcasts, and even memes-but these new forms of communication are often accompanied by dated gender politics. In Women's Voices in Digital Media, Jennifer O'Meara dives into new and well-established media formats to show how contemporary screen media and cultural practices police and fetishize women's voices, but also provide exciting new ways to amplify and empower them.

As she travels through the digital world, O'Meara discovers newly acknowledged-or newly erased-female voice actors from classic films on YouTube, meets the AI and digital avatars in Her and The Congress, and hears women's voices being disembodied in new ways via podcasts and VR voice-overs. She engages with dialogue that is spreading with only the memory of a voice, looking at how popular media like Clueless and The Simpsons have been mined for feminist memes, and encounters vocal ventriloquism on RuPaul's Drag Race that queers and valorizes the female voice. Through these detailed case studies, O'Meara argues that the digital proliferation of screens alters the reception of sounds as much as that of images, with substantial implications for women's voices.

This book offers a provocative analysis of the neuroscience of morality. Written by three leading scholars of science, medicine, and bioethics, it critiques contemporary neuroscientific claims about individual morality and notions of good and evil. Winner of a 2021 prize from the Expanded Reason Institute, it connects moral philosophy to neoliberal economics and successfully challenges the idea that we can locate morality in the brain.

Instead of discovering the source of morality in the brain as they claim to do, the popularizers of contemporary neuroscience are shown to participate in an understanding of human behavior that serves the vested interests of contemporary political economy. Providing evidence that the history of claims about morality and brain function reach back 400 years, the authors locate its genesis in the beginnings of modern philosophy, science, and economics. They further map this trajectory through the economic and moral theories of Francis Bacon, David Hume, Jeremy Bentham, John Stuart Mill, and the Chicago School of Economics to uncover a pervasive colonial anthropology at play in the neuroscience of morality today.


The book concludes with a call for a humbler and more constrained neuroscience, informed by a more robust human anthropology that embraces the nobility, beauty, frailties, and flaws in being human.

Seeing new media art as an entry point for better understanding of technology and worldmaking futures

In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more.

At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-Francois Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber.

Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.

This book uses popular culture to highlight the intersections and interplay between ideologies, technological advancement and mobilities as they shape contemporary Irish identities. Marshalling case studies drawn from a wide spectrum of popular culture, including the mediated construction of prominent sporting figures, Troubles-set sitcom Derry Girls, and poignant drama feature Philomena, Anthony P. McIntyre offers a wide-ranging discussion of contemporary Irishness, tracing its entanglement with notions of mobility, regionality and identity. The book will appeal to students and scholars of Irish studies, cultural studies, as well as film and media studies.

In Feel-Bad Postfeminism, Catherine McDermott provides crucial insight into what growing up during empowerment postfeminism feels like, and outlines the continuing postfeminist legacy of resilience in girlhood coming-of-age narratives.

McDermott's analysis of Gone Girl (2012), Girls (2012-2017) and Appropriate Behaviour (2012) illuminates a major cultural turn in which the pleasures of postfeminist empowerment curdle into a profound sense of rage and resentment. By contrast, close examination of The Hunger Games (2008-2010), Girlhood (2014) and Catch Me Daddy (2014) reveals that contemporary genres are increasingly constructing girls as uniquely capable of resiliently overcoming and adapting to unforgiving social conditions.

She develops an affective vocabulary to better understand contemporary modes of defiant, transformative and relational resilience, as well as a framework through which to expand on further modes that are specific to the genres they emerge within. Overall, the book suggests that exploration of the affective dimensions of girls' and women's culture can offer new insights into how coming-of-age, girlhood and femininity are culturally produced in the aftermath of postfeminism.

An exploration of cosplay and its relationship with the realms of its global fandom, performance, and the modes of fictional existence

Flourishing far beyond its Japanese roots, cosplay has become an international phenomenon with fervid fans who gather at enormous, worldwide conventions annually. Here, author Frenchy Lunning offers an intimate, sensational tour through cosplay's past and present, as well as its global lure.

Through a culmination of years of personal research on cosplay, and growing out of Lunning's wealth of scholarship, conference presentations, and cosplayer interviews, Cosplay is a unique and necessary examination of identity, performance, play, and otaku fandom and culture in relation to contemporary theories. With discussions covering construction, masquerades, and community through performance, Lunning presents cosplay as a dynamic and ever-evolving global practice. She combines the fascinating viewpoints of cosplayers with observational, in-depth research on cosplay history and practice, and a deep dive into critical theory involving the modes of fictional existence, in order to understand its global expansion.

Augmented with beautiful photographs, this is an engrossing, lively read that explores a complicated and often misunderstood history and meditates on how cosplay allows its participants to create and construct meaning and identity.