Popular culture – both radical and mainstream – has an important role to play in supporting environmental awareness and translating ecological values in ways that are meaningful to our everyday lives. This comprehensive survey of green media and popular culture introduces the reader to the key debates and theories surrounding green interpretations of popular film, television and journalism, as well as comedy, music, animation, and computer games. With stimulating and original case studies on U2, Björk, the animated films of Disney, the computer game Journey, and more, the text reveals the complicated and often contradictory relationship between the media and environmentalism. Green Media and Popular Culture is a critical starting point for students of Media, Film and Cultural Studies, and anyone else researching and studying in the rapidly growing field of green media and cultural studies.
green media and popular culture
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Today we recognize that we have a different relationship to media technology--and to information more broadly--than we had even five years ago. We are connected to the news media, to our jobs, and to each other, 24 hours a day. But many people have found their mediated lives to be too fast, too digital, too disposable, and too distracted. This group--which includes many technologists and young people--believes that current practices of digital media production and consumption are unsustainable, and works to promote alternate ways of living. Until recently, sustainable media practices have been mostly overlooked, or thought of as a counterculture. But, as Jennifer Rauch argues in this book, the concept of sustainable media has taken hold and continues to gain momentum. Slow media is not merely a lifestyle choice, she argues, but has potentially great implications for our communities and for the natural world. In eight chapters, Rauch offers a model of sustainable media that is slow, green, and mindful. She examines the principles of the Slow Food movement--humanism, localism, simplicity, self-reliance, and fairness--and applies them to the use and production of media. Challenging the perception that digital media is necessarily eco-friendly, she examines green media, which offers an alternative to a current commodities system that produces electronic waste and promotes consumption of nonrenewable resources. Lastly, she draws attention to mindfulness in media practice-- "mindful emailing" or "contemplative computing>," for example--arguing that media has significant impacts on human health and psychological wellbeing. Slow Media will ultimately help readers understand the complex and surprising relationships between everyday media choices, human well-being, and the natural world. It has the potential to transform the way we produce and use media by nurturing a media ecosystem that is more satisfying for people, and more sustainable for the planet.
Companion to Environmental Studies presents a comprehensive and interdisciplinary overview of the key issues, debates, concepts, approaches and questions that together define environmental studies today. The intellectually wide-ranging volume covers approaches in environmental science all the way through to humanistic and post-natural perspectives on the biophysical world. Though many academic disciplines have incorporated studying the environment as part of their curriculum, only in recent years has it become central to the social sciences and humanities rather than mainly the geosciences. ‘The environment’ is now a keyword in everything from fisheries science to international relations to philosophical ethics to cultural studies. The Companion brings these subject areas, and their distinctive perspectives and contributions, together in one accessible volume. Over 150 short chapters written by leading international experts provide concise, authoritative and easy-to-use summaries of all the major and emerging topics dominating the field, while the seven part introductions situate and provide context for section entries. A gateway to deeper understanding is provided via further reading and links to online resources. Companion to Environmental Studies offers an essential one-stop reference to university students, academics, policy makers and others keenly interested in ‘the environmental question’, the answer to which will define the coming century.
First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.
Over the last two decades, "green criminology" has emerged as a unique area of study, bringing together criminologists and sociologists from a wide range of research backgrounds and varying theoretical orientations. It spans the micro to the macro—from individual-level environmental crimes and victimization to business/corporate violations and state transgressions. There have been few attempts, however, to explicitly or implicitly integrate cultural criminology into green criminology (or vice versa). This book moves towards articulating a green cultural criminological perspective. Brisman and South examine existing overlapping research and offer a platform to support future excursions by green criminologists into cultural criminology’s concern with media images and representations, consumerism and consumption, and resistance. At the same time, they offer an invitation to cultural criminologists to adopt a green view of the consumption landscape and the growth (and depictions) of environmental harms. Green Cultural Criminology is aimed at students, academics, criminologists, and sociologists with an interest in green criminology and cultural criminology: two of the most exciting new areas in criminology today.
Since its birth in the 1960s, the study of popular culture has come a long way in defining its object, its purpose, and its place in academe. Emerging along the margins of a scholarly establishment that initially dismissed anything popular as unworthy of serious study-trivial, formulaic, easily digestible, escapist-early practitioners of the discipline stubbornly set about creating the theoretical and methodological framework upon which a deeper understanding could be founded. Through seminal essays that document the maturation of the field as it gradually made headway toward legitimacy, Popular Culture Theory and Methodology provides students of popular culture with both the historical context and the critical apparatus required for further growth. For all its progress, the study of popular culture remains a site of healthy questioning. What exactly is popular culture? How should it be studied? What forces come together in producing, disseminating, and consuming it? Is it always conformist, or has it the power to subvert, refashion, resist, and destabilize the status quo? How does it differ from folk culture, mass culture, commercial culture? Is the line between "high" and "low" merely arbitrary? Do the popular arts have a distinctive aesthetics? This collection offers a wide range of responses to these and similar questions. Edited by Harold E. Hinds, Jr., Marilyn F. Motz, and Angela M. S. Nelson, Popular Culture Theory and Methodology charts some of the key turning points in the "culture wars" and leads us through the central debates in this fast developing discipline. Authors of the more than two dozen studies, several of which are newly published here include John Cawelti, Russel B. Nye, Ray B. Browne, Fred E. H. Schroeder, John Fiske, Lawrence Mintz, David Feldman, Roger Rollin, Harold Schechter, S. Elizabeth Bird, and Harold E. Hinds, Jr. A valuable bibliography completes the volume.
Teaching about the media and popular culture has been a major concern for radical educators. Yet in recent years, the hyperbolic rhetoric of "critical pedagogy" has come under attack, not only from theoretical perspectives such as feminism, anti-racism and postmodernism, but also in The Light Of Actual Classroom Experience. The Notion That Teachers Might "liberate" students through rationalistic forms of ideological critique has been increasingly questioned, not only on the grounds of its political arrogance, but also because of its ineffectiveness in practice. This book seeks to move beyond the limitations of these debates, and to explore positive alternatives. It contains a broad international range of contributions, covering practice from primary schools right through to higher education. The authors draw on diverse perspectives, including poststructuralism, postmodernism, cultural studies, anti-racism and feminism; yet they share a willingness to challenge radical orthodoxies, and to offer positive practical alternatives.
Essays in this collection exemplify folkloristic approaches to popular culture. The contributors are concerned with the ways in which technological media shape expressive forms; the small group uses of mass media; the relation of traditional forms, content and aesthetics to mass popularity; the changing repertoires and roles of active bearers of tradition who perform for audiences of differing sizes; and the functions of folklore within the conventions of popular culture. This collection demonstrates that folklore and popular culture are not oppositional so much as interdependent categories of cultural activity in modern society.
YouTube is now firmly established as the dominant platform for online video, and it continues to be a site of both experimentation and conflict among media industries, creators and audiences. First published in 2009, this was the first book to take YouTube seriously as a media and cultural phenomenon. This revised and updated second edition explains how the platform is being used, how it is changing, and why it matters. The new edition reflects YouTube's maturity as a platform and includes more detailed coverage of its institutional and economic contexts, while retaining the discussions of YouTube's relation to wider transformations in culture, society and the economy that made the first edition so valuable. The book critically examines the public debates surrounding the site, demonstrating how it is central to struggles for authority and control in the new media environment. Drawing on a range of theoretical sources and empirical research, the authors discuss how YouTube is being used by the media industries, by audiences and amateur producers, and by particular communities of interest, and the ways in which these uses challenge existing ideas about cultural 'production' and 'consumption'. Rich with concrete examples, the second edition will continue to be essential reading for anyone interested in the contemporary and future implications of online media.