Showing titles in Media Studies

When Moya Bailey first coined the term misogynoir, she defined it as the ways anti-Black and misogynistic representation shape broader ideas about Black women, particularly in visual culture and digital spaces. She had no idea that the term would go viral, touching a cultural nerve and quickly entering into the lexicon. Misogynoir now has its own Wikipedia page and hashtag, and has been featured on Comedy Central’s The Daily Show and CNN’s Cuomo Prime Time.

“Methamphetamine was a huge part of this case . . . It was a horrible murder driven by drugs.” — Prosecutor Cal Rerucha, who convicted Matthew Shepard's killers On the night of October 6, 1998, twenty-one-year-old Matthew Shepard left a bar with two alleged “strangers,” Aaron...

There was a time when the news came once a day, in the morning newspaper. Times have changed. Now we’re inundated. We carry the news with us, getting instant alerts about events around the globe. Yet despite this unprecedented abundance of information, it seems increasingly difficult to know what’s true and what’s not. In Bad News, Rob Brotherton delves into the psychology of news, reviewing how the latest research can help navigate this supposedly post-truth world.

Addresses how tech empowers community organizing and protest movements to combat the systems of capitalism and data exploitation that helped drive tech’s own rise to ubiquity. Our smartphones have brought digital technology into the most intimate spheres of life. It’s time to take control of...

Two hundred and rising. That's the death tally for the Obama administration's "Operation Fast & Furious." The program was supposedly designed to "win the drug war" by deliberately walking more than two thousand guns across the border to Mexico. But instead of catching drug lords, Fast & Furious armed the very kingpins it was supposed to trap.

Award-winning journalist and Fortune 500 consultant Jeff Ansell provides a how-to guide for leaders, executives, and other professionals whose high-visibility requires frequent contact with the media. Drawing on nearly four decades of media experience, Ansell presents tested techniques for responding to challenging questions and delivering effective messages. In addition, he reveals lessons learned and pitfalls to avoid by referencing recent news events from around the world.

In the tradition of Neil Postman's masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the 20th century, which joined millions of Americans in a shared monoculture, into today's zillion-channel, internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump.

In the revolutionary excitement of the 1960s, young people around the world called for a radical shift away from the old industrial order, imagining a future of technological liberation and unfettered prosperity. Industrial society did collapse, and a digital economy has risen to take its place, yet many are left feeling marginalized and deprived of the possibility of a better life. The Inglorious Years explores the many ways we have been let down by the rising tide of technology, showing how our new interconnectivity is not fulfilling its promise.

The pandemic has been orchestrated by a cabal of billionaires, known as “the Good Club,” to initiate history’s greatest transference of wealth and to further the globalization of poverty. The virus was created in military laboratories within the United States as a biological weapon. Even the riots have been staged. The Phantom Virus: How an Unseen Enemy Shut Down the Planet! by Rodney Howard-Browne and Paul L. Williams will prove it.

When Truman asked Stalin in 1945 whether Hitler was dead, Stalin replied bluntly, "No." As late as 1952, Eisenhower declared: "We have been unable to unearth one bit of tangible evidence of Hitler's death." What really happened? Simon Dunstan and Gerrard Williams have compiled extensive evidence - some recently declassified - that Hitler actually fled Berlin and took refuge in a remote Nazi enclave in Argentina.

“A beautiful book… an instant classic of the genre.” —Dwight Garner, New York Times A New York Times Critics’ Top Book of 2021 A New York Times Book Review Editors' Choice Named a Best Nonfiction Book of 2021 by Kirkus Winner of the 2021 National Jewish Book Award in...

This book unravels the personal intrigues, hidden tensions, power plays, and cultural twists behind the media empire now known as Univision, and reveals how its programming —including telenovelas, soccer, news, and music—defined an identity and won over an audience that grew at the same pace as the network.

His final confession. The one he wasn’t supposed to write. The one they’ll brand as “misinformation” while sliding it under the table. Call it a tell-all, call it damage control, call it his victory lap. He calls it . . . pandemic preparedness, uncut.

Writer Stan Lee and artist Jack Kirby co-created the all-star group of six superheroes in September 1963. From there, just three main writers chronicled Earth's Mightiest Heroes in that most turbulent of decades: Roy Thomas, Steve Englehart, and Jim Shooter, each with differing approaches. The Avengers quickly became the pivot around which the Marvel Universe turned. To look back through its issues is to get a crash course in '70s pop culture.

In a house designed for manipulation, paranoia, and power plays, sixteen strangers are cut off from the outside world—watched every second by cameras, judged by millions. Welcome to Big Brother. A show ahead of its time, it was once dismissed as fluff television. Now this voyeuristic reality show has quietly become a cultural juggernaut. But what are the costs of turning human lives into entertainment? What kind of psychological toll does it take to be put in isolation, under constant surveillance, in a perpetual state of suspicion?

Owned is the story of the underreported and growing collusion between new wealth and new journalism. In recent years, right-wing billionaires like Elon Musk, Peter Thiel, Marc Andreessen, and David Sacks have turned to media as their next investment and source of influence. Their cronies are Glenn Greenwald and Matt Taibbi—once known as idealistic and left-leaning voices, now beneficiaries of Silicon Valley largesse. Together, this new alliance aims to exploit the failings of traditional journalism and undermine the very idea of an independent and fact-based fourth estate.

A celebration of Ms.—the most startling, most audacious, most norm-breaking of the magazine's groundbreaking pieces on women, men, politics (sexual and otherwise), marriage, family, education, work, motherhood, and reproductive rights, as well as the best of the magazine’s fiction, poetry...

In an illuminating analysis, Dr. Genevieve Guenther shows that the climate debate is not, in fact, neatly polarized, with Republicans obstructing climate action and Democrats advancing climate solutions. Partisans on the right and the left often repeat the same fossil-fuel talking points, and this repetition produces a centrist consensus upholding the status quo, even as global heating accelerates. Weaving this analysis through fascinating critical histories of the terms that dominate the language of climate politics Dr. Guenther shows how this consensus is established.

The Family, fondée par Alice Zagury, Oussama Ammar et Nicolas Colin, a révolutionné l'écosystème des startups françaises entre 2013 et 2025. The Family a favorisé la diversité, cassé les hiérarchies, et permis à des entrepreneurs venus de tous horizons de transformer leurs idées en succès. Mais cette aventure hors du commun a aussi connu des crises, des scandales financiers et des remises en question, révélant les défis éthiques et structurels de l'innovation à l'ère numérique.

This book considers the complex and often contradictory relations that are forged between boredom and everyday media use in the twenty-first century and demonstrates how networked media have developed new technical means of capitalizing on boredom's state of suspension to make it into a source of value creation.