In Sounds of the Underground, Stephen Graham examines the largely unexplored terrain of underground music-exploratory forms of music-making, such as noise, free improvisation, and extreme metal, that exist outside or on the fringes of mainstream culture, generally independent from both the market and from traditional high-art institutions. Until now there has been little scholarly discussion of underground music and its cultural, political, and aesthetic importance. In addition to providing a much-needed historical outline of this diverse scene, Stephen Graham focuses on the digital age, showing the underground and its fringes as based largely in radical anti-capitalist politics and aesthetics, tied to the political contexts and structures of late-capitalism. Sounds of the Underground explores these various ideas of separation and capture through interviews and analysis, developing a critical account of both the music and its political and cultural economy. Book jacket.
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The popular media often presents a negative picture of young people and technology. From addiction to gaming, the distractions of the Internet, to the risks of social networking, the downsides of new technology in the lives of teenagers are often over-blown. Teenagers and Technology presents a balanced picture of the part played by technology in the lives of young people. Drawing on extensive interviews conducted over several years, this book offers a timely and non-sensational exploration of teenagers' experiences and opinions about the digital technologies they use, desire and dislike. The book covers a range of topical subjects including: Social networking and online engagement in the wider social world Building online self-identity and group membership Technology in the home Developing technology skills in support of learning Drawing on technological resources in the journey towards adulthood. Grounded in what young people actually say about using new technology in their daily lives, Teenagers and Technology presents a picture in which young people have in some respects a unique relationship to technology, but one that is actually not exceptional or of a completely different order to how people in general relate to it. By providing a nuanced view on the topic, Teenagers and Technology counters the extreme accounts of 'digital youth', and exaggerated anxieties created by the mass media. It will be of interest to students and academics working in the fields of adolescent and Internet studies, along with education professionals, practitioners, teenagers and their parents.
As American television continues to garner considerable esteem, rivalling the seventh art in its "cinematic" aesthetics and the complexity of its narratives, one aspect of its development has been relatively unexamined. While film has long acknowledged its tendency to adapt, an ability that contributed to its status as narrative art (capable of translating canonical texts onto the screen), television adaptations have seemingly been relegated to the miniseries or classic serial. From remakes and reboots to transmedia storytelling, loose adaptations or adaptations which last but a single episode, the recycling of pre-existing narrative is a practice that is just as common in television as in film, and this text seeks to rectify that oversight, examining series from M*A*S*H to Game of Thrones, Pride and Prejudice to Castle.
Popular fiction can be more than "feel-good diversion". Stories which are intended to entertain are uniquely suited to affect their recipients' feelings or moods, and tend to leave a more sustained impression than lectures or lists of facts. It is hardly surprising, therefore, that story-telling keeps on thriving in the 21st century, with ever new media providing ever new space for narratives. In Will Spook You For Real, Huber examines a wide range of strategies used in fiction to trigger a specific emotion in the readers: anxiety regarding the social constructs they live in, and their specific positions within these constructs. Can we trust our neighbours? Can we rely on our governments? What do big corporations have in mind? And what happens if I cannot conform to the role which has been assigned to me?
Contemporary culture is haunted by its media. Yet in their ubiquity, digital media have become increasingly banal, making it harder for us to register their novelty or the scope of the social changes they have wrought. What do we learn about our media environment when we look closely at the ways novelists and filmmakers narrate and depict banal use of everyday technologies? How do we encounter our own media use in scenes of waiting for e-mail, watching eBay bids, programming as work, and worrying about numbers of social media likes, friends, and followers? Zara Dinnen analyzes a range of prominent contemporary novels, films, and artworks to contend that we live in the condition of the “digital banal,” not noticing the affective and political novelty of our relationship to digital media. Authors like Jennifer Egan, Dave Eggers, Sheila Heti, Jonathan Lethem, Gary Shteyngart, Colson Whitehead, Mark Amerika, Ellen Ullman, and Danica Novgorodoff and films such as The Social Network and Catfish critique and reveal the ways in which digital labor isolates the individual; how the work of programming has become an operation of power; and the continuation of the “Californian ideology,” which has folded the radical into the rote and the imaginary into the mundane. The works of these writers and artists, Dinnen argues, also offer ways of resisting the more troubling aspects of the effects of new technologies, as well as timely methods for seeing the digital banal as a politics of suppression. Bridging the gap between literary studies and media studies, The Digital Banal recovers the shrouded disturbances that can help us recognize and antagonize our media environment.