Interpreting and Transmitting Kynicism in Joker: The Dark Side of Film Fandom focuses on fan discourse and discussion surrounding Todd Phillips’s Joker (2019), analyzing how white nationalist movie fans code racist, sexist, ableist, and otherwise marginalizing logics into seemingly innocuous speech. Kyle A. Hammonds posits that, by arguing that their communication is “just their interpretation” of a movie, rather than explicitly political speech, white nationalists can communicate bigoted, extremist rhetoric under the pretext of good-faith film criticism. Hammonds leverages hermeneutic traditions often overlooked in communication and fan studies research to argue that interpretation is the key element of fan communication processes in struggles for authority over the meaning of texts—and that fan communities have a civic duty to identify and delegitimize exclusionary interpretations of pop culture in their fandom.

Through an analysis of the representation of tricksters in soviet and post-soviet culture, Lipovetsky attempts to draw a virtual map of cynical reason: to identify its symbols, discourses, contradictions, and by these means, its historical development from the 1920s to the 2000s.

Become immersed in the most innovative and vital in recent Canadian and international experimental film and video. Using the exhibition history of the Toronto screening group Pleasure Dome as a starting point to survey the work of independent film and videomakers during the 1990s, Lux delves into the work of these experimental artists with unprecedented depth and insight. The result is an anthology that provides an extensive overview of the period and also zooms in on the specific themes, oeuvres, styles and individual works that characterize the decade.

Federal recognition enables tribes to govern themselves and make decisions for their citizens that have the power to retain their cultures. But over the last forty years, the news media coverage of the federal recognition of tribes has perpetuated ignorance and stereotypes about tribal sovereignty. This book examines how past coverage has prioritized gaming over sovereignty and interfered in Tribes’ ability to be federally recognized. Scholars of journalism, mass communication, media studies, and indigenous studies will find this book of particular interest.

Producing the Acceptable Sex Worker considers how sex work is produced in news media narratives, a site where much of the general public draws its understanding of the industry in the absence of lived interaction with it. Taking New Zealand as a case study, this book considers an emerging discourse of acceptability for some sex workers, primarily those who do low-volume indoor work. Their acceptability is established in comparison with other kinds of sex workers, resulting in a redistribution but not a reduction of stigma. The conditions attached to acceptability reflect persistent anxieties aboutsex work: workers who are acceptable must give the impression that the sexual labour of the job is enjoyable and virtually indistinguishable from their personal life, eliding the work involved. Unacceptable workers have existing marginalisations magnified by their association with the industry, with migrant sex workers produced as devious or exploited, and transgender women’s involvement with the industry used to deny them the right to public space. The conditions attached to acceptability reveal how neoliberal discourses of choice, desire, authenticity, and personal responsibility inform the formation of sex work in the public eye.

Growing economic inequality, corporate influence in politics, an eroding middle class. Many Americans leave it to politicians and the media to debate these topics in the public sphere. Yet other seemingly ordinary Americans have decided to enter the conversation of wealth in America by donning ball gowns, tiaras, tuxedos, and top hats and taking on the imagined roles of wealthy, powerful, and completely fictional characters. Why? In No Billionaire Left Behind, Angelique Haugerud, who embedded herself within the "Billionaires" and was granted the name "Ivana Itall," explores the inner workings of these faux billionaires and mines the depths of democracy's relationship to political humor, satire, and irony. No Billionaire Left Behind is a compelling investigation into how satirical activists tackle two of the most contentious topics in contemporary American political culture: the increasingly profound division of wealth in America, and the role of big money in electoral politics. Anthropologist and author Angelique Haugerud deftly charts the evolution of a group named the Billionaires—a prominent network of satirists and activists who make a mockery of wealth in America—along with other satirical groups and figures to puzzle out their impact on politics and public opinion. In the spirit of popular programs like The Colbert Report and The Daily Show, the Billionaires demonstrate a sophisticated knowledge of economics and public affairs through the lens of satire and humor. Through participant observation, interviews, and archival research, Haugerud provides the first ethnographic study of the power and limitations of this evolving form of political organizing in this witty exploration of one group's efforts to raise hope and inspire action in America's current political climate.

This collection breaks down the stereotypes often expected of Korean popular culture, specifically examining issues of gender, sexuality, and stereotype in a variety of cultural products including K-pop, K-drama, and cover dancing through the lens of how “Koreanness” can be defined. A diverse range of of contributors showcase how Hallyu, or the Korean Wave, began as a wave rolling across Asia and morphed into a tsunami that has impacted every continent, making Korean popular culture an industry that draws in fans on a global scale. The stereotypes and issues being explored in this collection, contributors argue, are intertwined with how Koreans both at home and in the diaspora portray themselves publicly and consider themselves privately. In tandem with this, international fans of Hallyu take part in the conversation through performance and imitation, either reinforcing or breaking away from these stereotypes. Contributors examine a wide variety of settings to connect the concepts of traditional Korean values to modern Korean society in a symbiotic relationship between these values and cultural content creators. Scholars of media studies, pop culture, gender studies, Asian studies, sociology, and cultural studies will find this book particularly useful.