Podcasts about spectatorship

| Devotional by Jennah Holo (based on the book “40 Days of Decrease: A Different Kind of Hunger, A Different Kind of Fast” by Alicia Britt Chole) : Day Fourteen / 40 Days Of Decrease Fast | “If they keep quiet, the stones will cry out” (Luke 19:39-40). It can be easy to get in our heads at times when we are in worship or prayer. Today challenge yourself to worship with abandon; surrender yourself to the Lord as we fast “Spectatorship”. Pray and ask God to give you the heart of a participator and to withhold hesitation when it comes to glorifying our creator.  

(Deep Dive begins at 46:45) We're so cute. I want to punch us in the face. Join your favourite TransAtlantic podcasters, Ian, Liam, and Kev (the girls are gone... or are they?) as we're heading to small town Missouri on a treasure hunt as we reconvene the BFE Book Club as we review the Gillian Flynn literary adaptation, Gone Girl. We're heading to the woodshed in our 246th episode as we discuss: Spectatorship and how this film plays both sides and gets away with it Liam again struggles with some choices made by the filmmmakers We discuss a legendary supporting actor who plays completely against type We ask where Rosamund Pike has been hiding all this time How many men are necessary before we can call something a BOYS NIGHT Ian's brought a beverage for a BFE taste test segment Liam claims he's never heard one of the biggest hits of the 2010s Someone take issue with one specific line near the end of the film Whether or not The Help is the Best Film Ever Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Andy Dickson Chris Pedersen  Duane Smith (Duane Smith!) Randal Silva The Yeetmeister Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Shai Bergerfroind Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ Massive thanks to Lex Van Den Berghe for the use of 'Mistake' by Luckydog.  Catch more from Lex's new band, The Maids of Honor at https://soundcloud.com/themaidsofhonor Also massive thanks to Moonlight Social for our age game theme song.  You can catch more from them at https://www.moonlightsocialmusic.com/ Join Hermes in his revolution; he is trying so very hard.

Today's episode features a conversation recorded live in May at The King's Festival of Artificial Intelligence in London. The event featured as the launch of Cinema and Machine Vision: Artificial Intelligence, Aesthetics and Spectatorship, a new book by Daniel Chávez Heras from Edinburgh University Press. Before a live audience, Daniel and Will chat about the themes and topics covered in the book, the intersections of AI and Film Studies, and answer audience questions. To learn more about Daniel and his work, click here. Daniel has also agreed to give away two copies of the book to listeners! Learn more here. Follow the show on ⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠. Learn more at the pod's ⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠. Get the ⁠⁠⁠⁠⁠free newsletter⁠⁠⁠⁠⁠. Music by Ketsa.

While many live-action films portray disability as a spectacle, "crip animation" (a genre of animated films that celebrates disabled people's lived experiences) uses a variety of techniques like clay animation, puppets, pixilation, and computer-generated animation to represent the inner worlds of people with disabilities. Crip animation has the potential to challenge the ableist gaze and immerse viewers in an alternative bodily experience. In Animated Film and Disability: Cripping Spectatorship (Indiana University Press, 2023), Dr. Slava Greenberg analyses over 30 animated works about disabilities, including Rocks in My Pockets, An Eyeful of Sound, and A Shift in Perception. He considers the ableism of live-action cinematography, the involvement of filmmakers with disabilities in the production process, and the evocation of the spectators' senses of sight and hearing, consequently subverting traditional spectatorship and listenership hierarchies. In addition, Dr. Greenberg explores physical and sensory accessibility in theatres and suggests new ways to accommodate cinematic screenings. Offering an introduction to disability studies and crip theory for film, media, and animation scholars, Animated Film and Disability demonstrates that crip animation has the power to breach the spectator's comfort, evoking awareness of their own bodies and, in certain cases, their social privileges. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

While many live-action films portray disability as a spectacle, "crip animation" (a genre of animated films that celebrates disabled people's lived experiences) uses a variety of techniques like clay animation, puppets, pixilation, and computer-generated animation to represent the inner worlds of people with disabilities. Crip animation has the potential to challenge the ableist gaze and immerse viewers in an alternative bodily experience. In Animated Film and Disability: Cripping Spectatorship (Indiana University Press, 2023), Dr. Slava Greenberg analyses over 30 animated works about disabilities, including Rocks in My Pockets, An Eyeful of Sound, and A Shift in Perception. He considers the ableism of live-action cinematography, the involvement of filmmakers with disabilities in the production process, and the evocation of the spectators' senses of sight and hearing, consequently subverting traditional spectatorship and listenership hierarchies. In addition, Dr. Greenberg explores physical and sensory accessibility in theatres and suggests new ways to accommodate cinematic screenings. Offering an introduction to disability studies and crip theory for film, media, and animation scholars, Animated Film and Disability demonstrates that crip animation has the power to breach the spectator's comfort, evoking awareness of their own bodies and, in certain cases, their social privileges. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

While many live-action films portray disability as a spectacle, "crip animation" (a genre of animated films that celebrates disabled people's lived experiences) uses a variety of techniques like clay animation, puppets, pixilation, and computer-generated animation to represent the inner worlds of people with disabilities. Crip animation has the potential to challenge the ableist gaze and immerse viewers in an alternative bodily experience. In Animated Film and Disability: Cripping Spectatorship (Indiana University Press, 2023), Dr. Slava Greenberg analyses over 30 animated works about disabilities, including Rocks in My Pockets, An Eyeful of Sound, and A Shift in Perception. He considers the ableism of live-action cinematography, the involvement of filmmakers with disabilities in the production process, and the evocation of the spectators' senses of sight and hearing, consequently subverting traditional spectatorship and listenership hierarchies. In addition, Dr. Greenberg explores physical and sensory accessibility in theatres and suggests new ways to accommodate cinematic screenings. Offering an introduction to disability studies and crip theory for film, media, and animation scholars, Animated Film and Disability demonstrates that crip animation has the power to breach the spectator's comfort, evoking awareness of their own bodies and, in certain cases, their social privileges. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

While many live-action films portray disability as a spectacle, "crip animation" (a genre of animated films that celebrates disabled people's lived experiences) uses a variety of techniques like clay animation, puppets, pixilation, and computer-generated animation to represent the inner worlds of people with disabilities. Crip animation has the potential to challenge the ableist gaze and immerse viewers in an alternative bodily experience. In Animated Film and Disability: Cripping Spectatorship (Indiana University Press, 2023), Dr. Slava Greenberg analyses over 30 animated works about disabilities, including Rocks in My Pockets, An Eyeful of Sound, and A Shift in Perception. He considers the ableism of live-action cinematography, the involvement of filmmakers with disabilities in the production process, and the evocation of the spectators' senses of sight and hearing, consequently subverting traditional spectatorship and listenership hierarchies. In addition, Dr. Greenberg explores physical and sensory accessibility in theatres and suggests new ways to accommodate cinematic screenings. Offering an introduction to disability studies and crip theory for film, media, and animation scholars, Animated Film and Disability demonstrates that crip animation has the power to breach the spectator's comfort, evoking awareness of their own bodies and, in certain cases, their social privileges. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

 One fashionable English language word I'd like to blow up is “weaponization”. Another is “victimhood”. So I couldn't resist talking the London School of Eonomics professor Lilie Chouliaraki about Wronged: The Weaponization of Victimhood, her new book attempting to right how we abuse these two maligned words. Feeling wronged, Chouliaraki explains, is really all about establishing power. No wonder, then, Trump's obsession with being victimized and his ludicrous sensitivity about being wronged. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian CommunicationNamed as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange': with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship' (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938' read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht's Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)

Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange': with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship' (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938' read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht's Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)

This week, Patrick and Eliana discuss Marcel Carné's 1945 film Les Enfants du Paradis (Children of Paradise), which appeared in the 2011 Cannes Classics section. Filmed during the Nazi Occupation of France and released as the first film following its liberation, the film has continued to charm audiences in France and abroad with its gorgeous set design, iconic actors, and wit-infused characters, a result of the core collaboration between set designer Alexandre Trauner, screenwriter Jacques Prevert, and composer Joseph Kosma.Spectatorship and performance are at the heart of this farcical and bittersweet film, where four men vie for the radiant yet fugacious Garance as she flits between them, and they amongst themselves on the grand Boulevard du ‘Crime.' It is a film about action and re-action, the verbal and the non-verbal, in a city too small for undying dreams.Resources:Affron, Mirella Jona. "Les Enfants Du Paradis: Play of Genres." Cinema Journal, vol. 18, no. 1, 1978, pp. JSTOR.Ebert, Roger. “Children of Paradise.” RogerEbert.com,Forbes, Jill. Les Enfants Du Paradis, British Film Institute, 1997.Mancini, Marc. "Prevert: Poetry in Motion Pictures." Film Comment, vol. 17, no. 6, 1981, pp. 34-37. JSTOR.Nye, Edward. Deburau. Pierrot, Mime, and Culture, Routledge, 2022.Picherit, Hervé. “A Strange Child of Paradise: The Artistry of Arletty's “Self” in Les enfants du paradis.” Camera Obscura, Vol. 32, No. 1, Duke University Press, 2017.Reid, Tina. “Marcel Carné on Children of Paradise: Forty-Five Years Later” The Criterion Collection, 20 Sept. 2012,Sadoul, Georges. "The Postwar French Cinema."Hollywood Quarterly, vol. 4, no. 3, 1950, pp. JSTOR.Sellier Geneviève. « Les Enfants du paradis dans le cinéma de l'Occupation.” 1895, revue d'histoire du cinéma, n° 22, 1997, pp. 55-66.Turk, Edward Baron. Child of Paradise. Marcel Carné and the Golden Age of French Cinema, Harvard University Press, 1989.Sound:EFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal O'Doan (Piano) Nancy O'Doan (Piano), and Seattle Youth Orchestra Pandora Records/Al Goldstein Archive.Excerpt

March 3rd Sermon

The use of disability as a metaphor is ubiquitous in popular culture – nowhere more so than in the myths, stereotypes and tropes around blindness. To be 'blind' has never referred solely to the inability to see. Instead blindness has been used as shorthand for, among other things, a lack of understanding, immorality, closeness to death, special insight or second sight. Although these 'meanings' attached to blindness were established as early as antiquity, readers, receivers and spectators into the present have been implicated in the stereotypes, which persist because audiences can be relied on to perpetuate them.  Marchella Ward's book Blindness and Spectatorship in Ancient and Modern Theatres: Towards New Ways of Looking and Looking Back (Cambridge UP, 2023) argues for a new way of seeing – and of understanding classical reception - by offering assemblage-thinking as an alternative to the presumed passivity of classical influence. And the theatre, which has been (incorrectly) assumed to be principally a visual medium, is the ideal space in which to investigate new ways of seeing. Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The use of disability as a metaphor is ubiquitous in popular culture – nowhere more so than in the myths, stereotypes and tropes around blindness. To be 'blind' has never referred solely to the inability to see. Instead blindness has been used as shorthand for, among other things, a lack of understanding, immorality, closeness to death, special insight or second sight. Although these 'meanings' attached to blindness were established as early as antiquity, readers, receivers and spectators into the present have been implicated in the stereotypes, which persist because audiences can be relied on to perpetuate them.  Marchella Ward's book Blindness and Spectatorship in Ancient and Modern Theatres: Towards New Ways of Looking and Looking Back (Cambridge UP, 2023) argues for a new way of seeing – and of understanding classical reception - by offering assemblage-thinking as an alternative to the presumed passivity of classical influence. And the theatre, which has been (incorrectly) assumed to be principally a visual medium, is the ideal space in which to investigate new ways of seeing. Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The use of disability as a metaphor is ubiquitous in popular culture – nowhere more so than in the myths, stereotypes and tropes around blindness. To be 'blind' has never referred solely to the inability to see. Instead blindness has been used as shorthand for, among other things, a lack of understanding, immorality, closeness to death, special insight or second sight. Although these 'meanings' attached to blindness were established as early as antiquity, readers, receivers and spectators into the present have been implicated in the stereotypes, which persist because audiences can be relied on to perpetuate them.  Marchella Ward's book Blindness and Spectatorship in Ancient and Modern Theatres: Towards New Ways of Looking and Looking Back (Cambridge UP, 2023) argues for a new way of seeing – and of understanding classical reception - by offering assemblage-thinking as an alternative to the presumed passivity of classical influence. And the theatre, which has been (incorrectly) assumed to be principally a visual medium, is the ideal space in which to investigate new ways of seeing. Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The use of disability as a metaphor is ubiquitous in popular culture – nowhere more so than in the myths, stereotypes and tropes around blindness. To be 'blind' has never referred solely to the inability to see. Instead blindness has been used as shorthand for, among other things, a lack of understanding, immorality, closeness to death, special insight or second sight. Although these 'meanings' attached to blindness were established as early as antiquity, readers, receivers and spectators into the present have been implicated in the stereotypes, which persist because audiences can be relied on to perpetuate them.  Marchella Ward's book Blindness and Spectatorship in Ancient and Modern Theatres: Towards New Ways of Looking and Looking Back (Cambridge UP, 2023) argues for a new way of seeing – and of understanding classical reception - by offering assemblage-thinking as an alternative to the presumed passivity of classical influence. And the theatre, which has been (incorrectly) assumed to be principally a visual medium, is the ideal space in which to investigate new ways of seeing. Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The use of disability as a metaphor is ubiquitous in popular culture – nowhere more so than in the myths, stereotypes and tropes around blindness. To be 'blind' has never referred solely to the inability to see. Instead blindness has been used as shorthand for, among other things, a lack of understanding, immorality, closeness to death, special insight or second sight. Although these 'meanings' attached to blindness were established as early as antiquity, readers, receivers and spectators into the present have been implicated in the stereotypes, which persist because audiences can be relied on to perpetuate them.  Marchella Ward's book Blindness and Spectatorship in Ancient and Modern Theatres: Towards New Ways of Looking and Looking Back (Cambridge UP, 2023) argues for a new way of seeing – and of understanding classical reception - by offering assemblage-thinking as an alternative to the presumed passivity of classical influence. And the theatre, which has been (incorrectly) assumed to be principally a visual medium, is the ideal space in which to investigate new ways of seeing. Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

The use of disability as a metaphor is ubiquitous in popular culture – nowhere more so than in the myths, stereotypes and tropes around blindness. To be 'blind' has never referred solely to the inability to see. Instead blindness has been used as shorthand for, among other things, a lack of understanding, immorality, closeness to death, special insight or second sight. Although these 'meanings' attached to blindness were established as early as antiquity, readers, receivers and spectators into the present have been implicated in the stereotypes, which persist because audiences can be relied on to perpetuate them.  Marchella Ward's book Blindness and Spectatorship in Ancient and Modern Theatres: Towards New Ways of Looking and Looking Back (Cambridge UP, 2023) argues for a new way of seeing – and of understanding classical reception - by offering assemblage-thinking as an alternative to the presumed passivity of classical influence. And the theatre, which has been (incorrectly) assumed to be principally a visual medium, is the ideal space in which to investigate new ways of seeing. Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Kristen Collins interviews Boris Litvin on spectatorship, memes, and Rousseau. Kristen and Boris delve into the relevance of Rousseau's insights on politics and the public stage, relating them to today's social media-driven democracy. They explore the concept of "audience democracy" coined by Bernard Manin, which distinguishes between those in power and the spectators of politics. They discuss the complexities of spectatorship, its passive nature, surveillance, and the role of social media in shaping political discourse and authenticity. They also examine how video technology, like body cams and bystander videos, impacts power dynamics and public scrutiny, highlighting the need for active participation alongside spectatorship for meaningful democratic change.Boris Litvin is a Visiting Instructor, Ancient Studies and General Education at Eckerd College. His research interests include intellectual history, democracy, spectatorship, political representation, authority, rhetoric, media, and textual interpretation.Read more work from Kristen Collins.References and related works to this episode: Bernard Manin's The Principles of Representative Government, Jeffrey Edward Green's Eyes of the People" Democracy in the Age of Spectatorship, Nadia Urbinati's Democracy Disfigured: Opinion, Truth, and the People and Me the People: How Populism Transforms Democracy, Boris Litvin's "'This Hearing Should Be Flipped': Democractic Spectatorship, Social Media, and the Problem of Demagogic Candor" and "Staging Emile".If you like the show, please subscribe, leave a 5-star review, and tell others about the show! We're available on Apple Podcasts, Spotify, Amazon Music, and wherever you get your podcasts.Follow the Hayek Program on Twitter: @HayekProgramLearn more about Academic & Student ProgramsFollow the Mercatus Center on Twitter: @mercatus

Joseph Lacey is Associate Professor of Political Theory at University College Dublin. He is about to embark on a five-year project looking at the moral agency of participants in elections. That's politicians, special advisers, journalists and so on. But it's also you and me: people who engage with political messaging, perhaps take some interest in what's going on behind the scenes and, ultimately, vote in elections. In this episode Joseph talks about the questions he's interested in, his plans for the research, what's distinctive about the method he's going to use, and what he hopes to get out of it. Here are some readings suggested by Joseph as good and relevant to the topic:Beckman, Arthur. 2018. ‘Political Marketing and Intellectual Autonomy: Political Marketing & Intellectual Autonomy'. Journal of Political Philosophy 26(1): 24–46.Beerbohm, Eric. 2016. ‘The Ethics of Electioneering'. Journal of Political Philosophy 24(4): 381–405.Green, Jeffrey. 2010. The Eyes of the People: Democracy in an Age of Spectatorship. Oxford: Oxford University Press. Lipsitz, Keena. 2004. ‘Democratic Theory and Political Campaigns'. Journal of Political Philosophy 12(2): 163–89.Scammell, Margaret. 2014. Consumer Democracy: The Marketing of Politics. Cambridge: Cambridge University Press.Ethics Untangled is produced by the IDEA Ethics Centre at the University of Leeds.Twitter: @EthicsUntangledFacebook: https://www.facebook.com/ideacetlLinkedIn: https://www.linkedin.com/company/idea-ethics-centre/

Today we're traveling back to the San Fernando Valley of the 1970s with Boogie Nights! Join us as we learn all about the impact of VHS on the porn industry, adult film awards, the history of the San Fernando Valley, and more! Sources: Timothy Buzzell, "Demographic Characteristics of Persons Using Pornography in Three Technological Contexts," Sexuality & Culture 9, no.1 (2005): 28-48. https://www.researchgate.net/profile/Timothy-Buzzell-2/publication/227101923_Demographic_characteristics_of_persons_using_pornography_in_three_technological_contexts/links/5627ead608ae518e347b2faa/Demographic-characteristics-of-persons-using-pornography-in-three-technological-contexts.pdf  Jonathan Coopersmith, "Sex Vibes and Videotape: Sexuality and Electrical Technology in the 20th Century: The Role of the Pornography Industry in the Development of Videotape and the Internet," http://owncloud.unsri.ac.id/journal/threat/sex_vibes_21century.pdf  Ingrid Rachel Olson, Pornography, Spectatorship, and Sex Education in the VCR Era, Dissertation, The University of British Columbia (2018).  Karl A. Groskaufmanis, "What Films We May Watch: Videotape Distribution and the First Amendment," University of Pennsylvania Law Review 136, no.4 (1988): 1263-1300. https://www.jstor.org/stable/3312163  Peter Alilunas, Smutty Little Movies: The Creation and Regulation of Adult Video (University of California, 2016). https://www.jstor.org/stable/10.1525/j.ctt1d4v0gx  Steven Niedbala, "The Ontology of the Pornographic Image: The Meese Commission and the Rise of Sexual Media," Grey Room 64 (2016): 104-23. https://www.jstor.org/stable/26778436   AFAA Award Ceremonies: A Pictorial History, Part I (1977-1980). The Rialto Report. Available at https://www.therialtoreport.com/2018/08/19/afaa-awards/ Ben Sherlock, "You're Not the King of Dirk: 10 Behind the Scenes Facts About Boogie Nights," ScreenRant, available at https://screenrant.com/boogie-nights-behind-scenes-facts-paul-thomas-anderson-movie/ Wikipedia: https://en.wikipedia.org/wiki/Boogie_Nights Oral history of Boogie Nights: http://grantland.com/features/boogie-nights/  Melia Robinson, "How LA's 'Porn Valley' Became the Adult Entertainment Capital of the World", Insider, available at https://www.businessinsider.com/history-of-porn-valley-hugh-hefner-2017-9 Roth v. United States, 1957. Opinion available at https://www.oyez.org/cases/1956/582 Miller v. California, 1973. Opinion available at https://www.oyez.org/cases/1971/70-73 Rose Eveleth, "What Can We Learn from the Porn Industry About HIV?" Smithsonian Magazine, available at https://www.smithsonianmag.com/smart-news/what-can-we-learn-from-the-porn-industry-about-hiv-111558622/

00:22:41: Discussion for episodes 1–3 01:20:18: Discussion for episodes 4 & 5 02:11:26: Discussion for episodes 6–8 Write into our Question Bucket at ghostdiverspod@gmail.com and follow us on Twitter! Also, don't forget that we will be recording the Question Bucket soon. The deadline to write into our Question Bucket for this series is TKTK. You can write into ghostdiverspod@gmail and follow us on Twitter! The Show: @ghostdiverspod (twitter) Niamh: @FoxmomNia (twitter) Connor: @rabbleais (twitter) Export Audio Network: exportaud.io Ghost Divers: exportaud.io/ghostdivers Pondering Pootan: exportaud.io/pootan Ornate Stairwells: exportaud.io/ornatestairwells Around the Long Fire: abnormalmapping.com/longfire Check out our official schedule at exportaud.io/divingschedule! Works Cited in this Discussion Angelis, Eugenio. (2019). Beyond the Screen: Terayama. Spectatorship. Intermediality. Annali di Ca' Foscari. Serie orientale. 55. 10.30687/AnnOr/2385-3042/2019/01/019. https://www.researchgate.net/publication/334673210_Beyond_the_Screen_Terayama_Spectatorship_Intermediality Content Warnings for this Discussion Body horror and exploding bodies Rape Police violence and brutality Murder Dismemberment and display of corpses Serial killer Horror Gun violence Alcohol Mental illness and mental health crises Find out more at https://ghost-divers.pinecast.co

CW: Sensitive content regarding 9/11, terrorism, genocide, racial violence, spectacular death, dark tourism.The sisters return from winter hiatus with an episode about atrocity, human suffering, spectacular death and how we choose to memorialize and regard the pain of others.  Focusing primarily on the 9/11 Memorial and Museum, they ask — can we look back on catastrophe without becoming voyeuristic consumers? Can we honor victims without turning them into commodities?  Can morbid curiosity and empathy coexist?  When will tourists visit places like Ground Zero or Auschwitz in the way they visit Pompeii? Using Susan Sontag's “Regarding the Pain of Others” (2003) as a critical framework, they dissect the role of images in memory making and the tension between private memory and public instruction.  Other topics include images of torture at Abu Ghraib, Lynndie England as a specter for white women in lynching photography, Kerry James Marshall's "Heirlooms and Accessories," and willed white innocence.  Readings include works by Jacqueline Goldsby, Eduardo Cadava, Philip R. Stone & Alex Grebenar, Marita Sturken, Jennifer Senior, Mary Marshall Clark, and as always, our ultimate, Susan Sontag. Cover is Robert Capa's "Falling Soldier" (1936)

How do digital technologies shape the experiences and meanings of migration? As the numbers of people fleeing war, poverty, and environmental disaster reach unprecedented levels worldwide, states also step up their mechanisms of border control. In this, they rely on digital technologies, big data, artificial intelligence, social media platforms, and institutional journalism to manage not only the flow of people at crossing-points, but also the flow of stories and images of human mobility that circulate among their publics. What is the role of digital technologies is shaping migration today? How do digital infrastructures, platforms, and institutions control the flow of people at the border? And how do they also control the public narratives of migration as a “crisis”? Finally, how do migrants themselves use these same platforms to speak back and make themselves heard in the face of hardship and hostility? Taking their case studies from the biggest migration event of the twenty-first century in the West, the 2015 European migration “crisis” and its aftermath up to 2020, Lilie Chouliaraki and Myria Georgiou offer a holistic account of the digital border as an expansive assemblage of technological infrastructures (from surveillance cameras to smartphones) and media imaginaries (stories, images, social media posts) to tell the story of migration as it unfolds in Europe's outer islands as much as its most vibrant cities. The Digital Border: Migration, Technology, Power (NYU Press, 2022) is a story of exclusion, marginalization, and violence, but also of care, conviviality, and solidarity. Through it, the border emerges neither as strictly digital nor as totally controlling. Rather, the authors argue, the digital border is both digital and pre-digital; datafied and embodied; automated and self-reflexive; undercut by competing emotions, desires, and judgments; and traversed by fluid and fragile social relationships—relationships that entail both the despair of inhumanity and the promise of a better future. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian Communication Myria Georgiou is Professor of Media and Communications at the London School of Economics, where she also serves as Research Director. She is the author, editor, and co-editor of five books, including Diaspora, Identity and the Media; Media and the City: Cosmopolitanism and Difference; and the Sage Handbook of Media and Migration. Padmapriya Vidhya-Govindarajan is a doctoral candidate at the Department of Media, Culture and Communication at NYU Steinhardt. Her research interests lie at the intersection of environmental justice, digital and film cultures, and community media-use practices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How do digital technologies shape the experiences and meanings of migration? As the numbers of people fleeing war, poverty, and environmental disaster reach unprecedented levels worldwide, states also step up their mechanisms of border control. In this, they rely on digital technologies, big data, artificial intelligence, social media platforms, and institutional journalism to manage not only the flow of people at crossing-points, but also the flow of stories and images of human mobility that circulate among their publics. What is the role of digital technologies is shaping migration today? How do digital infrastructures, platforms, and institutions control the flow of people at the border? And how do they also control the public narratives of migration as a “crisis”? Finally, how do migrants themselves use these same platforms to speak back and make themselves heard in the face of hardship and hostility? Taking their case studies from the biggest migration event of the twenty-first century in the West, the 2015 European migration “crisis” and its aftermath up to 2020, Lilie Chouliaraki and Myria Georgiou offer a holistic account of the digital border as an expansive assemblage of technological infrastructures (from surveillance cameras to smartphones) and media imaginaries (stories, images, social media posts) to tell the story of migration as it unfolds in Europe's outer islands as much as its most vibrant cities. The Digital Border: Migration, Technology, Power (NYU Press, 2022) is a story of exclusion, marginalization, and violence, but also of care, conviviality, and solidarity. Through it, the border emerges neither as strictly digital nor as totally controlling. Rather, the authors argue, the digital border is both digital and pre-digital; datafied and embodied; automated and self-reflexive; undercut by competing emotions, desires, and judgments; and traversed by fluid and fragile social relationships—relationships that entail both the despair of inhumanity and the promise of a better future. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian Communication Myria Georgiou is Professor of Media and Communications at the London School of Economics, where she also serves as Research Director. She is the author, editor, and co-editor of five books, including Diaspora, Identity and the Media; Media and the City: Cosmopolitanism and Difference; and the Sage Handbook of Media and Migration. Padmapriya Vidhya-Govindarajan is a doctoral candidate at the Department of Media, Culture and Communication at NYU Steinhardt. Her research interests lie at the intersection of environmental justice, digital and film cultures, and community media-use practices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

How do digital technologies shape the experiences and meanings of migration? As the numbers of people fleeing war, poverty, and environmental disaster reach unprecedented levels worldwide, states also step up their mechanisms of border control. In this, they rely on digital technologies, big data, artificial intelligence, social media platforms, and institutional journalism to manage not only the flow of people at crossing-points, but also the flow of stories and images of human mobility that circulate among their publics. What is the role of digital technologies is shaping migration today? How do digital infrastructures, platforms, and institutions control the flow of people at the border? And how do they also control the public narratives of migration as a “crisis”? Finally, how do migrants themselves use these same platforms to speak back and make themselves heard in the face of hardship and hostility? Taking their case studies from the biggest migration event of the twenty-first century in the West, the 2015 European migration “crisis” and its aftermath up to 2020, Lilie Chouliaraki and Myria Georgiou offer a holistic account of the digital border as an expansive assemblage of technological infrastructures (from surveillance cameras to smartphones) and media imaginaries (stories, images, social media posts) to tell the story of migration as it unfolds in Europe's outer islands as much as its most vibrant cities. The Digital Border: Migration, Technology, Power (NYU Press, 2022) is a story of exclusion, marginalization, and violence, but also of care, conviviality, and solidarity. Through it, the border emerges neither as strictly digital nor as totally controlling. Rather, the authors argue, the digital border is both digital and pre-digital; datafied and embodied; automated and self-reflexive; undercut by competing emotions, desires, and judgments; and traversed by fluid and fragile social relationships—relationships that entail both the despair of inhumanity and the promise of a better future. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian Communication Myria Georgiou is Professor of Media and Communications at the London School of Economics, where she also serves as Research Director. She is the author, editor, and co-editor of five books, including Diaspora, Identity and the Media; Media and the City: Cosmopolitanism and Difference; and the Sage Handbook of Media and Migration. Padmapriya Vidhya-Govindarajan is a doctoral candidate at the Department of Media, Culture and Communication at NYU Steinhardt. Her research interests lie at the intersection of environmental justice, digital and film cultures, and community media-use practices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

How do digital technologies shape the experiences and meanings of migration? As the numbers of people fleeing war, poverty, and environmental disaster reach unprecedented levels worldwide, states also step up their mechanisms of border control. In this, they rely on digital technologies, big data, artificial intelligence, social media platforms, and institutional journalism to manage not only the flow of people at crossing-points, but also the flow of stories and images of human mobility that circulate among their publics. What is the role of digital technologies is shaping migration today? How do digital infrastructures, platforms, and institutions control the flow of people at the border? And how do they also control the public narratives of migration as a “crisis”? Finally, how do migrants themselves use these same platforms to speak back and make themselves heard in the face of hardship and hostility? Taking their case studies from the biggest migration event of the twenty-first century in the West, the 2015 European migration “crisis” and its aftermath up to 2020, Lilie Chouliaraki and Myria Georgiou offer a holistic account of the digital border as an expansive assemblage of technological infrastructures (from surveillance cameras to smartphones) and media imaginaries (stories, images, social media posts) to tell the story of migration as it unfolds in Europe's outer islands as much as its most vibrant cities. The Digital Border: Migration, Technology, Power (NYU Press, 2022) is a story of exclusion, marginalization, and violence, but also of care, conviviality, and solidarity. Through it, the border emerges neither as strictly digital nor as totally controlling. Rather, the authors argue, the digital border is both digital and pre-digital; datafied and embodied; automated and self-reflexive; undercut by competing emotions, desires, and judgments; and traversed by fluid and fragile social relationships—relationships that entail both the despair of inhumanity and the promise of a better future. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian Communication Myria Georgiou is Professor of Media and Communications at the London School of Economics, where she also serves as Research Director. She is the author, editor, and co-editor of five books, including Diaspora, Identity and the Media; Media and the City: Cosmopolitanism and Difference; and the Sage Handbook of Media and Migration. Padmapriya Vidhya-Govindarajan is a doctoral candidate at the Department of Media, Culture and Communication at NYU Steinhardt. Her research interests lie at the intersection of environmental justice, digital and film cultures, and community media-use practices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

How do digital technologies shape the experiences and meanings of migration? As the numbers of people fleeing war, poverty, and environmental disaster reach unprecedented levels worldwide, states also step up their mechanisms of border control. In this, they rely on digital technologies, big data, artificial intelligence, social media platforms, and institutional journalism to manage not only the flow of people at crossing-points, but also the flow of stories and images of human mobility that circulate among their publics. What is the role of digital technologies is shaping migration today? How do digital infrastructures, platforms, and institutions control the flow of people at the border? And how do they also control the public narratives of migration as a “crisis”? Finally, how do migrants themselves use these same platforms to speak back and make themselves heard in the face of hardship and hostility? Taking their case studies from the biggest migration event of the twenty-first century in the West, the 2015 European migration “crisis” and its aftermath up to 2020, Lilie Chouliaraki and Myria Georgiou offer a holistic account of the digital border as an expansive assemblage of technological infrastructures (from surveillance cameras to smartphones) and media imaginaries (stories, images, social media posts) to tell the story of migration as it unfolds in Europe's outer islands as much as its most vibrant cities. The Digital Border: Migration, Technology, Power (NYU Press, 2022) is a story of exclusion, marginalization, and violence, but also of care, conviviality, and solidarity. Through it, the border emerges neither as strictly digital nor as totally controlling. Rather, the authors argue, the digital border is both digital and pre-digital; datafied and embodied; automated and self-reflexive; undercut by competing emotions, desires, and judgments; and traversed by fluid and fragile social relationships—relationships that entail both the despair of inhumanity and the promise of a better future. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian Communication Myria Georgiou is Professor of Media and Communications at the London School of Economics, where she also serves as Research Director. She is the author, editor, and co-editor of five books, including Diaspora, Identity and the Media; Media and the City: Cosmopolitanism and Difference; and the Sage Handbook of Media and Migration. Padmapriya Vidhya-Govindarajan is a doctoral candidate at the Department of Media, Culture and Communication at NYU Steinhardt. Her research interests lie at the intersection of environmental justice, digital and film cultures, and community media-use practices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

How do digital technologies shape the experiences and meanings of migration? As the numbers of people fleeing war, poverty, and environmental disaster reach unprecedented levels worldwide, states also step up their mechanisms of border control. In this, they rely on digital technologies, big data, artificial intelligence, social media platforms, and institutional journalism to manage not only the flow of people at crossing-points, but also the flow of stories and images of human mobility that circulate among their publics. What is the role of digital technologies is shaping migration today? How do digital infrastructures, platforms, and institutions control the flow of people at the border? And how do they also control the public narratives of migration as a “crisis”? Finally, how do migrants themselves use these same platforms to speak back and make themselves heard in the face of hardship and hostility? Taking their case studies from the biggest migration event of the twenty-first century in the West, the 2015 European migration “crisis” and its aftermath up to 2020, Lilie Chouliaraki and Myria Georgiou offer a holistic account of the digital border as an expansive assemblage of technological infrastructures (from surveillance cameras to smartphones) and media imaginaries (stories, images, social media posts) to tell the story of migration as it unfolds in Europe's outer islands as much as its most vibrant cities. The Digital Border: Migration, Technology, Power (NYU Press, 2022) is a story of exclusion, marginalization, and violence, but also of care, conviviality, and solidarity. Through it, the border emerges neither as strictly digital nor as totally controlling. Rather, the authors argue, the digital border is both digital and pre-digital; datafied and embodied; automated and self-reflexive; undercut by competing emotions, desires, and judgments; and traversed by fluid and fragile social relationships—relationships that entail both the despair of inhumanity and the promise of a better future. Lilie Chouliaraki is Professor of Media and Communications at the London School of Economics, where she also serves as the department's Doctoral Program Director. She is the author of several books, including The Spectatorship of Suffering and The Ironic Spectator, Solidarity in the Age of Post-Humanitarianism and co-editor of The Routledge Handbook of Humanitarian Communication Myria Georgiou is Professor of Media and Communications at the London School of Economics, where she also serves as Research Director. She is the author, editor, and co-editor of five books, including Diaspora, Identity and the Media; Media and the City: Cosmopolitanism and Difference; and the Sage Handbook of Media and Migration. Padmapriya Vidhya-Govindarajan is a doctoral candidate at the Department of Media, Culture and Communication at NYU Steinhardt. Her research interests lie at the intersection of environmental justice, digital and film cultures, and community media-use practices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

In this episode, I present bell hooks' essay "The Oppositional Gaze: Black Female Spectatorship." If you want to support me, you can do that with these links: Patreon: https://www.patreon.com/theoryandphilosophy paypal.me/theoryphilosophy Twitter: @DavidGuignion IG: @theory_and_philosophy

topics: the magic of Miyazaki / making art in conversation with the climate crisis / a post-pandemic new wave / childhood reminiscences / scenes / language / Werner Herzog's masterclass / being misunderstood / octopus ink and spider decoys / contributing vs consuming find jack: @jackasswedge and @laserdays.studio on instagram and https://www.jackwedge.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Sohrob Farudi, CEO and Co-founder of Fan Controlled Football, gives us an inside look into FCF and its new Ballerz Collective NFT project that puts fans in control of real life professional sports teams. We cover democratising gameplay decision-making, redesigning the stadium and game rules, introducing social dynamics, and much more! Show Notes:  (00:00:00) – Introduction. (00:01:43) – Issues with fan engagement in sports.  (00:03:07) – Giving power back to the fans.  (00:05:50) – What is Fan Controlled Football (FCF)? (00:10:48) – What FCF has achieved so far.  (00:13:30) – The gamification of the fan experience. (00:18:27) – Creating superstar fans. (00:19:41) – The player and owner experience on FCF.  (00:24:32) – The Ballerz Collective NFT and sneak peeks. (00:33:26) – Building the physical stadium. (00:36:10) – Game rules in FCF.  (00:41:59) – Expanding to sports beyond football.  (00:45:26) – Appealing to location-based fans. (00:48:13) – Governance in FCF. (00:51:40) – Why would an elite player come to FCF? (00:53:31) – Revenue flows, token design, and sports betting. (01:02:24) – Season 1 promotional video. (01:06:04) – Upcoming events, sales, and closing remarks. Social links:  Sohrob's Twitter Fan Controlled Football Twitter Fan Controlled Football Discord Ballerz Collective Twitter Resources:  Fan Controlled Football Website How FCF Works FCF Rulebook FCF Arena Design More

“Made of light and later sound, the film experience cannot be touched, but that does not mean it is immaterial.” So writes Dr. Caetlin Benson-Allott in her third academic monograph, The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, April 2021). In The Stuff of Spectatorship, Dr. Benson-Allott turns away from that canonical concept of medium specificity to explore the nature of material specificity. How might the cinematic and televisual apparatus be expanded to incorporate the lost off-the-air recording, the decaying VHS tape, the mediocre branded Cabernet, and the eruption of violence at your local multiplex? It is not just what you watch, but how you watch, that makes meaning. This reframing not only has profound implications for how critics and fans enjoy their preferred media, while laying bare the racist and classist commitments at the heart of our shared material media cultures. In this discussion, Dr. Benson-Allott describes the origin of her latest project, details her decision to include herself as a character in the proceedings, and talks about her work as the editor at the disciplinary flagship, Journal of Cinema and Media Studies. Caetlin Benson-Allott is Professor of English and Film & Media Studies at Georgetown University. She is the author of The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, 2021), Remote Control (Bloomsbury, 2015), and Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013). She is also Editor of the Journal of Cinema and Media Studies (JCMS), the scholarly publication of the Society for Cinema and Media Studies, and writes a regular column on politics, platforms, and contemporary media for Film Quarterly. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in Public Books, Literary Hub, Feminist Media Histories, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

“Made of light and later sound, the film experience cannot be touched, but that does not mean it is immaterial.” So writes Dr. Caetlin Benson-Allott in her third academic monograph, The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, April 2021). In The Stuff of Spectatorship, Dr. Benson-Allott turns away from that canonical concept of medium specificity to explore the nature of material specificity. How might the cinematic and televisual apparatus be expanded to incorporate the lost off-the-air recording, the decaying VHS tape, the mediocre branded Cabernet, and the eruption of violence at your local multiplex? It is not just what you watch, but how you watch, that makes meaning. This reframing not only has profound implications for how critics and fans enjoy their preferred media, while laying bare the racist and classist commitments at the heart of our shared material media cultures. In this discussion, Dr. Benson-Allott describes the origin of her latest project, details her decision to include herself as a character in the proceedings, and talks about her work as the editor at the disciplinary flagship, Journal of Cinema and Media Studies. Caetlin Benson-Allott is Professor of English and Film & Media Studies at Georgetown University. She is the author of The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, 2021), Remote Control (Bloomsbury, 2015), and Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013). She is also Editor of the Journal of Cinema and Media Studies (JCMS), the scholarly publication of the Society for Cinema and Media Studies, and writes a regular column on politics, platforms, and contemporary media for Film Quarterly. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in Public Books, Literary Hub, Feminist Media Histories, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

“Made of light and later sound, the film experience cannot be touched, but that does not mean it is immaterial.” So writes Dr. Caetlin Benson-Allott in her third academic monograph, The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, April 2021). In The Stuff of Spectatorship, Dr. Benson-Allott turns away from that canonical concept of medium specificity to explore the nature of material specificity. How might the cinematic and televisual apparatus be expanded to incorporate the lost off-the-air recording, the decaying VHS tape, the mediocre branded Cabernet, and the eruption of violence at your local multiplex? It is not just what you watch, but how you watch, that makes meaning. This reframing not only has profound implications for how critics and fans enjoy their preferred media, while laying bare the racist and classist commitments at the heart of our shared material media cultures. In this discussion, Dr. Benson-Allott describes the origin of her latest project, details her decision to include herself as a character in the proceedings, and talks about her work as the editor at the disciplinary flagship, Journal of Cinema and Media Studies. Caetlin Benson-Allott is Professor of English and Film & Media Studies at Georgetown University. She is the author of The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, 2021), Remote Control (Bloomsbury, 2015), and Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013). She is also Editor of the Journal of Cinema and Media Studies (JCMS), the scholarly publication of the Society for Cinema and Media Studies, and writes a regular column on politics, platforms, and contemporary media for Film Quarterly. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in Public Books, Literary Hub, Feminist Media Histories, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

“Made of light and later sound, the film experience cannot be touched, but that does not mean it is immaterial.” So writes Dr. Caetlin Benson-Allott in her third academic monograph, The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, April 2021). In The Stuff of Spectatorship, Dr. Benson-Allott turns away from that canonical concept of medium specificity to explore the nature of material specificity. How might the cinematic and televisual apparatus be expanded to incorporate the lost off-the-air recording, the decaying VHS tape, the mediocre branded Cabernet, and the eruption of violence at your local multiplex? It is not just what you watch, but how you watch, that makes meaning. This reframing not only has profound implications for how critics and fans enjoy their preferred media, while laying bare the racist and classist commitments at the heart of our shared material media cultures. In this discussion, Dr. Benson-Allott describes the origin of her latest project, details her decision to include herself as a character in the proceedings, and talks about her work as the editor at the disciplinary flagship, Journal of Cinema and Media Studies. Caetlin Benson-Allott is Professor of English and Film & Media Studies at Georgetown University. She is the author of The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, 2021), Remote Control (Bloomsbury, 2015), and Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013). She is also Editor of the Journal of Cinema and Media Studies (JCMS), the scholarly publication of the Society for Cinema and Media Studies, and writes a regular column on politics, platforms, and contemporary media for Film Quarterly. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in Public Books, Literary Hub, Feminist Media Histories, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

“Made of light and later sound, the film experience cannot be touched, but that does not mean it is immaterial.” So writes Dr. Caetlin Benson-Allott in her third academic monograph, The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, April 2021). In The Stuff of Spectatorship, Dr. Benson-Allott turns away from that canonical concept of medium specificity to explore the nature of material specificity. How might the cinematic and televisual apparatus be expanded to incorporate the lost off-the-air recording, the decaying VHS tape, the mediocre branded Cabernet, and the eruption of violence at your local multiplex? It is not just what you watch, but how you watch, that makes meaning. This reframing not only has profound implications for how critics and fans enjoy their preferred media, while laying bare the racist and classist commitments at the heart of our shared material media cultures. In this discussion, Dr. Benson-Allott describes the origin of her latest project, details her decision to include herself as a character in the proceedings, and talks about her work as the editor at the disciplinary flagship, Journal of Cinema and Media Studies. Caetlin Benson-Allott is Professor of English and Film & Media Studies at Georgetown University. She is the author of The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, 2021), Remote Control (Bloomsbury, 2015), and Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013). She is also Editor of the Journal of Cinema and Media Studies (JCMS), the scholarly publication of the Society for Cinema and Media Studies, and writes a regular column on politics, platforms, and contemporary media for Film Quarterly. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in Public Books, Literary Hub, Feminist Media Histories, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

“Made of light and later sound, the film experience cannot be touched, but that does not mean it is immaterial.” So writes Dr. Caetlin Benson-Allott in her third academic monograph, The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, April 2021). In The Stuff of Spectatorship, Dr. Benson-Allott turns away from that canonical concept of medium specificity to explore the nature of material specificity. How might the cinematic and televisual apparatus be expanded to incorporate the lost off-the-air recording, the decaying VHS tape, the mediocre branded Cabernet, and the eruption of violence at your local multiplex? It is not just what you watch, but how you watch, that makes meaning. This reframing not only has profound implications for how critics and fans enjoy their preferred media, while laying bare the racist and classist commitments at the heart of our shared material media cultures. In this discussion, Dr. Benson-Allott describes the origin of her latest project, details her decision to include herself as a character in the proceedings, and talks about her work as the editor at the disciplinary flagship, Journal of Cinema and Media Studies. Caetlin Benson-Allott is Professor of English and Film & Media Studies at Georgetown University. She is the author of The Stuff of Spectatorship: Material Cultures of Film and Television (University of California Press, 2021), Remote Control (Bloomsbury, 2015), and Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013). She is also Editor of the Journal of Cinema and Media Studies (JCMS), the scholarly publication of the Society for Cinema and Media Studies, and writes a regular column on politics, platforms, and contemporary media for Film Quarterly. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in Public Books, Literary Hub, Feminist Media Histories, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

It's Day 5 and PSG.LGD finally face off against their TI8 rivals, OG (formerly Monkey Business), in one of the most anticipated matches of the International Dota 2 Championships in Shanghai. Luckily, esports researcher and MIT professor T. L. Taylor joins us to discuss our experiences both inside the stadium during an intense match full of cheers and jeers and then outside during an equally intense session of bartering for blind boxes, swag bags, and secret shop spoils. From one of the most memorable matches of the tournament to tournament memorabilia, in this episode T. L. helps us make sense of the monkey business.

In this episode, we put the art back into ARTS on Day 4 of the International Dota 2 Championship. First Yang Jing will tour UnArt Center, a media art gallery that doubles as an esports venue, then Peter will exhibit AutoSave: Redoubt, a Counter-Strike map reconstructing the scene where Japanese and the English first encountered one another in the Battle of Hong Kong during World War Two. But is Dota an ARTS or an art?

It's Day 3 of the International Dota Championships in Shanghai and the whole cast is back in one room to talk about how we've been playing Dota. From the Mercedes Benz Arena and the Super Brand Mall to laptops in our apartment and the night cafe across the street, everyone has their own way of playing. And after catching up with the cast, we'll interview Murielle "Kips" Huisman, a Dota 2 analyst and the former coach of TNC Predator, Vega Squadron, and Complexity Gaming.

In our last episode Shang Lun was about to narrate his long night at The Late Game, a Dota 2 talk show where he got to interview the cast and crew of the International Dota 2 Championships in Shanghai. So this time we'll tune in and hear about his adventures with shout casters, camera operators, Chinese translators, TV producers, and a certain buffoonish dad who seems to hate pizza rolls!

In this talk, Victoria Cain provides a brief overview of some of the themes of her new book, Schools and Screens: A Watchful History, and a deeper dive into a few defining experiments with educational media in twentieth century US schools. Her talk will focus on the struggle of successive generations of education reformers who attempted to meet massive social and economic crises through careful instruction in media viewing and collective discussion. Cain will consider how and why these reformers came to conclude that “civic spectatorship” was essential to modern education and democratic participation, and reflect on the significance of their experiments for schools today. Victoria Cain teaches in the Department of History at Northeastern University. She is the author of Schools and Screens: A Watchful History (MIT, 2021), as well as numerous articles and chapters on media, technology and education, and the co-author, with Karen Rader, of Life on Display: Revolutionizing U.S. Museums of Science and Natural History (Chicago, 2014). Her newest project explores the history and politics of adolescent privacy.

24 Histories, 4 Arts, 1 Dota. In this episode we meet our final cast member, Felania Mengfei Liu, who takes us on a tour of Chinese Game Studies, including a deep dive into the etymology of gaming and gambling, sport and esport in China. Then Stephanie, Patrick, and Will tell us about the long history of Dota, from Aeon of Strife to DotA: Allstars and beyond. Finally, the cast recounts a series of adventures around the stadium on Day 2 of the International Dota 2 Championships in Shanghai!

From our local police station to Mercedes-Benz Stadium, we finally watch our first match together at the International Dota 2 Championships...and it's a doozy! After unpacking the hour-long contest between Vici Gaming and TNC Predator, Alex, Shang Lun, Peter, and Yang Jing teach us a little about what they learned on Day 1 before before we take a deep dive into the Dota 2 ecosystem with our first special guest: CEO of Chaos Esports Club, Greg Laird!

In this episode, Alice and Nicolas interview Dr Frank Möller, a researcher at the Tampere Peace Research Institute, Finland. Frank studies peace photography - both how photography can represent peace, and how such representations can contribute to peace. He has published several books on this topic, including Visual Peace: Images, Spectatorship and the Politics of Violence (Palgrave Macmillan, 2013) and Peace Photography  (Palgrave Macmillan, 2019). He also leads a project on 'peace videography' and is co-founder of https://www.imageandpeace.com, a hub for researchers, artists and anyone interested in the link between visual culture and peace. In the podcast, we ask Frank what distinguishes 'peace photography' from other kinds of photography. That gets us talking about the long tradition of war photography, 'anti-war' photography, and the tendency to define and represent peace in relation to war - for example, by visualising peace through images of aftermath or post-conflict reconciliation and reconstruction. Frank argues for a broader approach to peace photography, and discusses the power of images of 'everyday peace' even in the midst of a war. He argues that if we can capture images of everyday peaceful practices, their momentum might grow and they might go on to generate more peaceful practices in turn. We also talk about the role that images of peace can play in mediation processes, through 'active looking'. As Frank puts it in one of his books, 'images reflect the world; in order to change the world, we need to change the images we see.' Among other questions, we asked Frank:is it easier to represent war than peace - or, at least, to represent cliches of war and peace?why is there no easily recognised tradition of 'peace photography' as there is for war photography?what role does photography play alongside other media (texts, films, works of art, etc) in shaping our habits of visualising war and peace?how can efforts to represent or visualise 'pockets' or 'islands' of everyday peace engender more peaceful practices in the wider world? How can we build peace with images?We hope you enjoy the episode! For a version of our podcast with close captions, please use this link. To find out more about Frank's work, you can visit his project website where he invites anyone interested in building peace with images to get involved.  For more information about individuals and their projects, access to resources and more, please have a look on the University of St Andrews Visualising War website.  Music composed by Jonathan Young Sound mixing by Zofia Guertin 

We're back! In Season 2 of Every Game in This City eight game designers, researchers, journalists, and curators meet up in Shanghai to try and watch every game in the 2019 International Dota 2 Championships. In this short introduction, Stephanie, Patrick, and Will try to connect the dots between escape rooms and esports: What are we doing? What aren't we doing? And what do we hope to learn as we jump into a new game in a new city with a new cast?

The battle begins! In the first full episode of Every Game in This City Season 2, the team gathers at the top of a penthouse in Huangpu, Shanghai the day before the International Dota 2 Championships in 2019 to talk about our Dota pasts, Dota predictions, and the case of the missing tickets! In the interlude Will, Stephanie, and Patrick try to explain the ins and outs of Dota 2 (with sound effects!) before the group reveals the thorny reality of actually getting tickets for a Dota tournament.

As a PhD candidate at the School of Oriental and African Studies (SOAS), Rakesh Sengupta researched early Indian cinema. His essay 'Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies', published in the Dec 2018 issue of Bioscope [no. 9.2] won the Best Journal Article by Screenwriting Research Network and also received High Commendation for Screen's Annette Kuhn Debut Essay Prize. On today's episode, we talk about the way in which the lack of script archives dictated the methods of research, how the vocation of screenwriting propelled fantasies of self-improvement and socioeconomic ascendancy in the 1930s and 1940s and the way in which the study of early cinema has been revitalised in the contemporary context of OTT and web programming. We also have some lovely anecdotes about serendipitous discoveries of forgotten Indian cinema scripts in other corners of the world. Click here to access the Image+ Guide & view the material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-9. Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Musical arrangement: Jayant Parashar Images: Rakesh Sengupta Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] References: Ashish Rajadhyaksha, 'The Phalke Era: Conflict of Traditional Form and Modern Technology', The Journal of Arts and Ideas, 1987. Kaushik Bhaumik, 'The Emergence of the Bombay Film Industry, 1913-1936', D. Phil Diss., University of Oxford, 2001. Priya Jaikumar, 'Cinema at the End of Empire', Duke University Press, 2006. Debashree Mukherjee, 'Notes on a Scandal: Writing Women's Film History Against an Absent Archive', Bioscope: South Asian Screen Studies' [Vol. 4.1], pp. 9-30, Jan. 2013. Bombay Hustle: Making Movies in a Colonial City',Columbia University Press, 2020. 'Somewhere Between Human, Nonhuman and Woman: Shanta Apte's Theory of Exhaustion', Feminist Media Histories [Vol. 6.1], pp. 21- 51, 2020. Tom Gunning, 'The Cinema of Attractions', Amsterdam University Press, 2006. André Gaudreault and Phillipe Marion, 'The Cinema as a Model for the Genealogy of Media', Convergence: The International Journal of Research into New Media Tecnologies [8.4], pp. 12-18, Dec. 2002. Ravi Vasudevan, 'The Melodramatic Public: Film Form and Spectatorship in Indian Cinema', Palgrave Macmillan US, 2010. Rachel Dwyer, 'Filming the Gods: Religion and Indian Cinema', Routledge, 2006. Rosie Thomas, 'Bombay Before Bollywood: Film City Fantasies', SUNY Press, 2015. Sudhir Mahadevan, 'A Very Old Machine: The Many Origins of the Cinema in India', SUNY Press, 2015. André Bazin, 'What Is Cinema?', trans. Hugh Gray, University of California Press, 1967. Stephen Hughes, 'The Production of the Past: Early Tamil Film History as a Living Archive', Bioscope: South Asian Screen Studies, pp. 71-80, June 2013. Ravikant, 'Words in Motion Pictures: A Social History of the Language of Hindi Cinema (c. 1931 till present)', Unpublished diss., University of Delhi, 2015. Henry Jenkins, 'Converge Culture: Where Old and New Media Collide', NYU Press, 2006. Virchand Dharamsey, 'Light of Asia: Indian Silent Cinema', 1912-1934, eds. Suresh Chabria, Paolo Cherchi Usai, Niyogi Books, 1994.

Support LCA : https://www.patreon.com/azadiFollow JyotiTwitter : https://twitter.com/jyotinishaInstagram : https://www.instagram.com/jyotinisha/ Jyoti Nisha is an independent writer and filmmaker based in Mumbai. She is an experienced journalist, a trained academic writer, screenwriter and filmmaker offering 10 years of work experience in print, radio and TV. Her crowd-funded film, ‘B. R. Ambedkar Now and Then,' explores Dr. Babasaheb Ambedkar's life symbolically, politically, and delves into representation and assertion of Bahujan politics in today's time. She has co-produced the film with Pa. Ranjith's Neelam Productions. She introduced a new theory - ‘Indian Cinema and the Bahujan Spectatorship' in academia, elaborating on the consumption of popular cinema by the marginalized of this country.3:45 to 18:50Understanding Jyoti's eventful journey18:50 to 25:20How did you convince your parents to get into film making?25:20 to 33:30What is it try to make a career in the film industry?33:30 to 39:35What was film school like?39:35 to 44:45What goes behind the scenes?44:45 to 57:00Understanding Bollywood's engagement with caste issues57:00 to 1:17:15Story of Geeli Puchi 1:17:15 to endB.R. Ambedkar Now and ThenNotes:Indian Cinema and the Bahujan Spectatorship by Jyoti Nisha https://www.epw.in/engage/article/indian-cinema-and-bahujan-spectatorshipMedia Rumble https://www.youtube.com/watch?v=r1jhyhg1bowMovie : Close up by Abbas Kiarostamihttps://www.youtube.com/watch?v=hjLVCiAtvls

For most football enthusiasts, the last year of matches and competition bore the stamp of something most people think should be kept out of the sport: politics.  But as former England football manager Sven-Göran Eriksson once said, “There is more politics in football than in politics.” Rather than separate from society, sports are often a mirror of it—a testament to the prevailing attitudes, to the evolving social and economic relations. If our society has become more globalized, commercialized and unequal, then the nature of sport will develop this way too.  It is in the interests of the footballing world to project an image of itself as both separate from politics, while simultaneously also being ahead of it. For example, sports boycotts are widely lauded as an effective tool against oppressive regimes, and something which sports players, organizations and their investors are historically inclined to do. In the final analysis, sports emerge in divided societies as a “great unifier.” Describing how this narrative plays out in South Africa, the historian Peter Alegi writes:   In the opening act, the consolidation of apartheid in the 1950s inspires sport activists to build an antiracist network seeking to racially integrate national teams, thereby casting sport in the political spotlight. The second act is set in the 1960s and 1970s as the sport boycott ostracizes white South Africa from the Olympic movement, world football, and nearly every other major sport—important symbolic victories in the larger quest for freedom. The third and final act unfolds against the backdrop of apartheid giving way to democracy in the early 1990s. Segregated sport federations merge into unified, nonracial institutions and South Africa's re-entry into global sport is celebrated with home victories in the 1995 Rugby World Cup and 1996 African Cup of Nations, unleashing a wave of rainbow nationalist euphoria throughout the sports-mad nation.   But what would be the more complicated story? What if, rather than simply being made by politics, football itself was something that made politics too. Writing about the history of white football in South Africa, Chris Bolsmann observes that during apartheid, “white football players, organizations, and administrators maintained close links with Britain, the Commonwealth and the notion of Empire and were at the forefront of globalizing football.”  Chris joins us on AIAC Talk this week to discuss the forgotten entanglement of South African football with English football at the nexus of empire. His most recent journal article is on the great English footballer, Stanley Matthews' long association with South African football. Together with Peter Alegi, Chris co-edited South Africa and the Global Game: Football, Apartheid and Beyond (2010) as well as Africa's World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space and South Africa (2013).  

Welcome to our special edition of What's Up in Dramaland, with Professor CedarBough Saeji. We ask CedarBough to share her thoughts on the bullying scandals, how dramas compare with real life, and what the role of fandom is during times of moral crisis. TIMESTAMPS: 00:02:17 Introducing Professor CedarBough Saeji 00:04:33 Perceptions and prevalence of bullying in Korean schools 00:06:03 Overview of actors accused of school violence 00:13:27 The difficulties presented by S. Korean defamation laws 00:15:44 The celebrity-corporate ecosystem, and the socioeconomic value of a clean reputation 00:21:54 What do accusers want from the accused? Who else has a stake in the outcome of these allegation, and how does it affect the investigation? 00:25:23 Why now, and why is bullying such a hot button issue with the general public? What does society and "the discourse" owe to victims? 00:30:44 Hierarchy as a societal problem, and school life as the learning ground for negotiating pecking order 00:36:04 Competition and academic success: who becomes a bully in Korean schools, and what has celebrity got to do with it? 00:45:13 As a fan, what is an appropriate response to have when you learn about the wrongdoings of an actor you like? 00:51:26 International fandom, and doubling down on expectations of celebrity perfection 00:53:21 Is there a path to redemption after celebrity wrongdoing? How to make a comeback, and gender differences. 00:58:05 How jealousy moves mountains: the Tablo scandal, and struggling to survive "Hell Joseon" 01:01:01 How should dramas themselves/the industry respond? Situating ourselves as fans and outsiders. 01:05:06 Concluding remarks --- Further reading: Prof. CedarBough Saeji: The Seungri Scandal and South Korea’s Gender Disparity: https://www.koreaexpose.com/what-seungri-burning-sun-scandal-says-about-korea-gender-disparity/ South Korea’s Corruption, Exposed by Burning Sun: https://www.koreaexpose.com/south-korea-corruption-exposed-by-burning-sun-seungri-scandal/ CedarBough on Youtube: https://www.youtube.com/user/CBSaeji CedarBough on Twitter: https://twitter.com/TheKpopProf/ James Turnbull: In the News: Korean Celebrity, Ethnic Nationalism, and Beauty Ideals: https://thegrandnarrative.com/2018/05/14/korean-celebrity-ethnic-nationalism-beauty-ideals/ Just beautiful people holding a bottle: The driving forces behind South Korea’s love of celebrity endorsement: https://www.researchgate.net/publication/313470041_Just_beautiful_people_holding_a_bottle_the_driving_forces_behind_South_Korea's_love_of_celebrity_endorsement Other: The Tablo Scandal: https://stanfordmag.org/contents/the-persecution-of-daniel-lee Further reading referenced in the episode: Shin, Haerin (2015). Tablo and Spectatorship. Choi, J.B. & Maliangkay, R. K-Pop - The International Rise of the Korean Music Industry (Ch. 15). Routledge. --- Our Remarkable Patrons Are: Egads, Steven, Lia W., Hades, Gracefulegg, Divina, Saoirse10, MCG, Humbledaisy, Eunice Choi, Jojo, Rue, k8ekol, mindy, Liliana, Edyth, Marcia, unatuna, Dr. Chi, Lesley H, G. K, Lynette, Vani, Helena, Staci, Hanna, Eazal, Natalie, Sarah H., Frances, David F. and newcomers Julia, Yu Jin Young and O'Lakes! Our most heartfelt thanks to you for making episodes like these possible. ❤︎ Follow us on Twitter @dramasoverflow and Instagram @dramasoverflowers_. Email us at dramasoverflowers@gmail.com. Support us on Patreon at patreon.com/dramasoverflowers or by leaving a review on the podcast app of your choice, or simply by telling your friends. Dramas Over Flowers is part of the Frolic Podcast Network. Episode edited by Saya.

We discuss gender and race relations and the use of clothes in Ann Petry’s 1946 novel The Street. See links below. Ann Petry, The Street (Virago 2019, first published 1946): https://www.virago.co.uk/titles/ann-petry-5/the-street/9780349012926/ Ann Petry, The Narrows (Virago 2020, first published 1953): https://www.virago.co.uk/titles/ann-petry-5/the-narrows/9780349013398/ Biographical information for Ann Petry at New York Public Library: http://archives.nypl.org/scm/24832#overview Tayari Jones, ‘In praise of Ann Petry’, The New York Times (10 November 2018): https://www.nytimes.com/2018/11/10/books/review/in-praise-of-ann-petry.html Tayari Jones, ‘The Street: the 1940s African American thriller that became a huge bestseller’, The Guardian (14 December 2019): https://www.theguardian.com/books/2019/dec/14/the-street-the-1940s-african-american-thriller-that-became-a-huge-bestseller Heather J. Hicks, ‘Rethinking Realism in Ann Petry’s “The Street”, Melus. Vol. 27, No. 4 (Winter 2002): https://www.jstor.org/stable/3250621 Heather J. Hicks, "This Strange Communion": Surveillance and Spectatorship in Ann Petry's "The Street", African American Review, vol. 37, no. 1 (Spring 2003): https://www.jstor.org/stable/1512357 All-American news IV (1945), Library of Congress: https://www.loc.gov/item/2018600204/ One tenth of a nation. The Arts (1954), Library of Congress: https://www.loc.gov/item/2020600724/

In dieser Folge hören wir uns verschiedene Arten von tamilischer Musik an und sprechen über deren Hintergründe. Außerdem stellen wir euch ein paar tamilische Musiker_innen aus der Diaspora vor. Musik: 5.31 Minute Bombay Jayshree Valli Devasenapstie; 7.27 Minute Karthikai 27; 41.20 Minute Shan Vincent de Paul - One thousand Flowers; 41.44 Shan Vincent de Paul - Light; 42.15: Yanchan ft. SVDP - Dear Eelam; 42.25: Navz - 47 Naveeni; 42.52: Navz-47 - Pattasu; 43.09: Navz-47 -Mayura; 43.55: Dilukshan - 8; 44.14: Dilukshan - Irudhi; 44.31: Nirujan - Theeya; 44.45: Uyiril Uthiram; 45.10: Nirujay Kangal Redum Pesuthe; 45.21: Pritt - Identity; 45.49 Pritt - Tunnel Vision; 46.08: Pritt - Infactuatetd; 46.45 Agash - Arranmanai. Zum Nachlesen: Baskran, Theodore (2014): Music for the Masses. Film Songs of Tamil Nadu. In: Economic and political Weekly 26 (11/12), S. 755-758). Ramaswamy, Vijaya (1993): Women and Farm Work in tamil folk songs. In: Social Scientist, Vol21 No9/11, S. 113-129. Lakshmi Subramanian und Lakshmi Subramaniam (2004): Contesting the classical: The Tamil Isai Iyakkam and the Politcs of Custodianship. In: Asian Journal of Social Science Vol 32, No 1, S. 66-90. Pavel Hons: Tamil dalit art and Identity: What to Do with the drum? In: South Asian Research Vol 38(2), S. 140-155. Jindasa, Manoj 2016: Psychological and Philosophical readings of the Spectatorship of Bollywood and Indian Tamil Film in Sri Lanka. In: Journalism and Mass Communication 6 (4), S. 201-212 Dickey, Sara (1993): Cinema and the urban poor in South India. Cambridge, Cambridge University Press. Eriyanto, Eriyanto und Tambunan, Anton Sujarwo (2018): Indie Music Counterculture towards Pop Music Domination (A Literature Review). In: Tambunan 2, S. 267-279. Current Obsession Mac: Film- Soorarai Potru Abby: Schwarzer Tee mit Hafermilch, Kardamom, Ingwer und einem Schuss Zitrone

Revenge! Murder! Incest! In episode 7 of Sparking Connections, Esmé and Kim discuss the Caroline revenge tragedy 'Tis Pity She's A Whore,' by John Ford. Show Notes: For more information and Transcripts please visit: https://pleaseholdfor.squarespace.com Boehrer, Bruce, ‘“Nice Philosophy”: 'Tis Pity She's a Whore and the Two Books of God', Studies in English Literature, 1500-1900, 24.2 (1984), 355–71 Bowers, Rick, ‘John Ford and the Sleep of Death', Texas Studies in Literature and Language, 28.4 (1986), 353–87 Champion, Larry S., ‘Ford's 'Tis Pity She's a Whore and the Jacobean Tragic Perspective', PMLA, 90.1 (1975), 78–87 Clerico, Terri, ‘The Politics of Blood: John Ford's “ 'Tis Pity She's a Whore”', English Literary Renaissance, 22.3 (1992), 405–34 Cooper, Farah Karim, and Tiffany Stern, Shakespeare's Theatres and the Effects of Performance (Bloomsbury Publishing, 2015) Diehl, Huston, ‘Inversion, Parody, and Irony: The Visual Rhetoric of Renaissance English Tragedy', Studies in English Literature, 1500-1900, 22.2 (1982), 197–209 Forker, Charles R., ‘“A Little More Than Kin, and Less Than Kind”: Incest, Intimacy, Narcissism, and Identity in Elizabethan and Stuart Drama', Medieval & Renaissance Drama in England, 4 (1989), 13–51 Gleason, John B., ‘The Dutch Humanist Origins of The De Witt Drawing of the Swan Theatre', Shakespeare Quarterly, 32.3 (1981), 324–38 Hopkins, Lisa, ‘Speaking Sweat: Emblems in the Plays of John Ford', Comparative Drama, 29.1 (1995), 133–46 Hoy, Cyrus, ‘“Ignorance in Knowledge”: Marlowe's Faustus and Ford's Giovanni', Modern Philology, 57.3 (1960), 145–54 Jephson, Valerie L., and Bruce Boehrer, ‘Mythologizing the Middle Class: “'Tis Pity She's a Whore” and the Urban Bourgeoisie', Renaissance and Reformation / Renaissance et Réforme, 18.3 (1994), 5–28 Kaufmann, R. J., ‘FORD'S TRAGIC PERSPECTIVE', Texas Studies in Literature and Language, 1.4 (1960), 522–37 Kistner, Arthur L., and M. K. Kistner, ‘The Dramatic Functions of Love in the Tragedies of John Ford', Studies in Philology, 70.1 (1973), 62–76 Martin, Matthew R., ‘The Raw and the Cooked in Ford's “ 'Tis Pity She's a Whore”', Early Theatre, 15.2 (2012), 131–46 Maus, Katharine Eisaman, ‘Horns of Dilemma: Jealousy, Gender, and Spectatorship in English Renaissance Drama', ELH, 54.3 (1987), 561–83 Mikesell, Margaret, ‘The Formative Power of Marriage in Stuart Tragedy', Modern Language Studies, 12.1 (1982), 36–44 Sasayama, Takashi, ‘The Decadence of John Fordʹs Tragedies', in English Criticism in Japan: Essays by Younger Japanese Scholars on English and American Literature, ed. by EARL ROY MINER (Princeton University Press, 1972), pp. 101–14 Sensabaugh, G. F., ‘John Ford and Platonic Love in the Court', Studies in Philology, 36.2 (1939), 206–26 Silverstone, Catherine, ‘Sexing Death: Giuseppe Patroni Griffi's “ 'Tis Pity She's a Whore”', Shakespeare Bulletin, 29.4 (2011), 559–72 Smith, Emma, and Garrett A. Sullivan Jr, The Cambridge Companion to English Renaissance Tragedy (Cambridge University Press, 2010)

Following up on Arendt's 'active life' we discuss how watching mastery has become a replacement for learning or doing yourself. This leads to other issues, such as decreased time to participate in the real world, leading to further frustration or inadequacy in the real world. Boris Groys bring up the contradiction that movies are not about moving; they promote action on screen, but only at the cost of you sitting and being passive. The removal of your action, motion, and even contemplation (as you must passively absorb the narrative) frames a world in which low-risk passivity is preferred to actual risk, action, or uniqueness. The Will to DIY website has references: https://thewilltodiy.com/step-9-the-passive-life/0:36 Watching people build things online: provides the emotion and illusion of competence2:07 Observation over doing: the time watching prevents the fantasy from becoming reality.4:00 The contradiction of the "active life" versus the "contemplative life" in movies5:29 Tokyo Drifting: From "Activity" to "Activity worship" 6:35 Spectatorship as Identity: a path towards nothing?  

We talk about Jordan Peele’s films “Get Out” and “Us,” how he’s challenging the representations of black characters in horror film, and how the themes and tropes of horror have changed in the films of the past decade. This episode features Dr. Andrew Scahill and the students of Dr. Sarah Hagelin’s film theory class from UC Denver and Kyle Harris from Westword. Cited in this episode: Creed, Barbara. “Horror and the Monstrous-Feminine: An Imaginary Abjection.” (Screen, 1986) https://academic.oup.com/screen/article-abstract/27/1/44/1630470?redirectedFrom=PDF Du Bois, W.E.B. “The Souls of Black Folk.” (A. C. McClurg & Co.‎, ‎1903) https://www.gutenberg.org/files/408/408-h/408-h.htm Goddu, Teresa. “Gothic America: Narrative, History, and Nation.” (Columbia University Press, 1997) https://www.amazon.com/Gothic-America-Teresa-Goddu/dp/0231108176 “Horror Noire: A History of Black Horror” (Shudder, 2019) https://www.imdb.com/title/tt9567548/ Mayne, Judith. "Cinema and Spectatorship." (Routledge, 1993) https://www.taylorfrancis.com/books/9780203133880 The song you hear on the show is "Belle et Triste" by Kariatida: https://freemusicarchive.org/music/Kariatida/I_1863/Kariatida_-_I_-_01_Belle_et_triste

This episode discusses my forthcoming book "Precarious Spectatorship: Theatre and image in an age of emergencies" (Manchester University Press, 2019). Many of the ideas in this book were first trialled on the Stage Blether podcast, so my heartfelt thanks to anybody and everybody who has listened over the last few years. Topics discussed include Islamic State, States of Emergency, the Refugee Crisis and storytelling.

Rendering Unconscious Podcast is hosted by psychoanalyst Dr. Vanessa Sinclair, who interviews psychoanalysts, psychologists, scholars, creative arts therapists, writers, poets, philosophers, artists & other intellectuals about their process, world events, the current state of mental health care, politics, culture, the arts & more. Rendering Unconscious is also a book! Rendering Unconscious: Psychoanalytic Perspectives, Politics and Poetry (Trapart, 2019): www.trapart.net Today's discussion is with Professor Todd McGowan, about his chapter on "The Signification of the Phallus" in Reading Lacan's Ecrits: From 'Signification of the Phallus' to 'Metaphor of the Subject' (Routledge, 2019) edited by Stijn Vanheule, Derek Hook and Calum Neil: https://www.routledge.com/Reading-Lacans-Ecrits-From-Signification-of-the-Phallus-to-Metaphor/Vanheule-Hook-Neill/p/book/9780415708029 Dr. Todd McGowan teaches theory and film at the University of Vermont. He is the author of Only a Joke Can Save Us: A Theory of Comedy (2017), Capitalism and Desire: The Psychic Cost of Free Markets (2016), Contemporary Film Directors: Spike Lee (2014), The Fictional Christopher Nolan (2013), Enjoying What We Don’t Have: The Political Project of Psychoanalysis (2013), The Real Gaze: Film Theory After Lacan (2007), and The Impossible David Lynch (2007). Emancipation after Hegel: Achieving a Contradictory Revolution (2019) is forthcoming from Columbia University Press. Dr. McGowan also contributed a chapter “The sex in their violence: eroticizing biopower” to the anthology On Psychoanalysis and Violence: Contemporary Lacanian Perspectives (Routledge, 2018) edited by Vanessa Sinclair and Manya Steinkoler: https://www.routledge.com/On-Psychoanalysis-and-Violence-Contemporary-Lacanian-Perspectives/Sinclair-Steinkoler/p/book/9781138346338 For more please visit: vermont.academia.edu/ToddMcGowan If you enjoy what we’re doing, please support the podcast at: www.patreon.com/vanessa23carl To hear Adrian Price's discussion of “An Artificial Tongue with a Natural Curl” – On Lacan’s Last Major Written Piece ‘Joyce le Symptôme’ visit: http://dasunbehagen.org/adrian-price-artificial-tongue-natural-curl-lacans-last-major-written-piece-joyce-le-symptome/ Alenka Zupancic's book "The Odd One In: on Comedy" is mentioned in this talk (https://mitpress.mit.edu/books/odd-one), as is Jennifer Friedlander's "Feminine Look: Sexuation, Spectatorship, Subversion," the work of Judith Butler and Joan Copjec. Rendering Unconscious Podcast can be found at: Spotify, iTunes, YouTube, Vimeo, SoundCloud Please visit the about page for links to all of these sites: www.renderingunconscious.org/about The track at the end of the episode is “The chapel is empty” from the upcoming album of the same name. Words by Vanessa Sinclair. Sounds by Akoustik Timbre Frekuency. From Highbrow Lowlife: https://highbrowlowlife.bandcamp.com Artwork by Vanessa Sinclair & Carl Abrahamsson from the exhibition "Mementeros" currently on view at MOPIA, Zürich, from July 4 - August 28, 2019: www.porninart.com Original artwork available at Trapart Books, Films, Editions: https://store.trapart.net/item/4 Vanessa Sinclair & Carl Abrahamsson will be performing at Rua Red Gallery, Dublin, Saturday, August 10, as part of Kendell Geers' exhibition "The Second Coming (Do What Thou Wilt)": www.ruared.ie

Well hello there! This week your favorite ghouls discuss the direct sequel to Universal Studios Dracula (1931). Dracula's Daughter may have been a flop upon release but as the trailer suggests... "IT'S MORE EXCITING THAN DRACULA!" We'd have to agree! Who doesn't love an artistic and powerful lesbian vampire!? --- Thanks to Lily LeBlanc for our theme song: www.lilythecomposer.com Buy some delicious coffee from our sponsors: www.recesscoffee.com ---- Resources: Attack of the Leading Ladies: Gender, Sexuality and Spectatorship in Classic Horror Cinema by Rhona J. Berenstein. Columbia University Press. 1996. Queer Horror: Decoding Universal’s Monsters by Gary Morris https://brightlightsfilm.com/queer-horror-decoding-universals-monsters/#.XP_QZZNKiu4 Dracula’s Daughter by Gary D. Rhodes https://read.amazon.com/?asin=B07C7H8C25 How the vampire became film’s most feminist monster by Genevieve Valentine https://thedissolve.com/features/exposition/964-how-the-vampire-became-films-most-feminist-monster/ The Life and Times of Marya Zaleska, Dracula’s Daughter: Part One by Doris V. Sutherland https://womenwriteaboutcomics.com/2016/10/life-times-marya-zaleska-draculas-daughter-part-one/ The Life and Times of Marya Zaleska, Dracula’s Daughter: Part Two by Doris V. Sutherland https://womenwriteaboutcomics.com/2016/10/life-times-marya-zaleska-draculas-daughter-part-two/ Like a Woman Rising from a Tomb: Dracula’s Daughter (1936) and the Fin de Siècle by Samm Deighan https://diaboliquemagazine.com/like-a-woman-rising-from-a-tomb-draculas-daughter-1936-and-the-fin-de-siecle/ CODED QUEERNESS IN DRACULA’S DAUGHTER (1936) by ELIZABETH ERWIN http://www.horrorhomeroom.com/coded-queerness-in-draculas-daughter-1936/ Looking Back at 'Dracula's Daughter,' the 1936 Monster Movie That's Really About Love and Lesbians by Colin Flemming https://www.vice.com/en_us/article/xd7993/looking-back-at-draculas-daughter-the-erotic-1936-film-thats-really-about-lesbians Dracula’s Daughter (1936) Review https://andyoucallyourselfascientist.com/2018/02/22/draculas-daughter-1936/ Daughters of the Darkness - Lesbian Vampire Before and After the Hays Code by Lili Hornyai https://www.academia.edu/4854666/Daughters_of_the_Darkness_-_Lesbian_Vampire_Before_and_After_the_Hays_Code Final Girl: Father was a Dracula http://www.finalgirl.rocks/2010/08/drac.html How Horror Thwarted ‘The Code’ By ELIZABETH ERWIN https://glreview.org/article/how-horror-thwarted-the-code/ Dracula’s Daughter Review by Will Kend https://shadowsinfilm.wordpress.com/2015/11/12/draculas-daughter-film-article-3/ Conversion Therapy https://www.merriam-webster.com/dictionary/aversion%20therapy Gay Conversion Therapy's Disturbing 19th-Century Origins https://www.history.com/news/gay-conversion-therapy-origins-19th-century The Feminists Making Vampires Gay Again https://www.thedailybeast.com/the-feminists-making-vampires-gay-again Feminist Fangs: The Activist Symbolism of Violent Vampire Women http://www.btchflcks.com/2015/10/feminist-fangs-the-activist-symbolism-of-violent-vampire-women.html#.XQWa1PlKhBw

In this talk, Dr Karina Aveyard examines the embodied elements of the film viewing experience across the range of public and private environments. The proliferation of internet-based technologies has given rise to renewed scholarly interest in the phenomenological aspects of media. It is frequently argued that cinema gives rise to intense and focused mode of viewing. Non-theatrical viewing, in contrast, is regularly assumed to be more distracted and sporadic. This talk refocuses this debate through the lens of phenomenology as a more critical approach for exploring the different bodily experiences of film viewing. As a format with perhaps the widest register of screens (from the cinema through to the smart phone), film is uniquely placed to expand the field of phenomenology. It invites us to think about not just how bodies interact with screens, but also how they interact with objects and screening spaces. Adam Daniel conducts a Q&A session at the end of Karina’s talk. Seminar: 0.00 - 36min Q & A: 36min - 1hr 04min Produced by the Sydney Screen Studies Network Visit our website: sydneyscreenstudies.wordpress.com Email us: sydneyscreenstudies@gmail.com

Immersive Worlds: Science, Narrative, and the Arts is a full-day, conference and exhibit held in the Baruch Performing Arts Center which explores the impact of immersive technologies across multiple disciplines including advertising, data, arts, education, science, and journalism.

Immersive Worlds: Science, Narrative, and the Arts is a full-day, conference and exhibit held in the Baruch Performing Arts Center which explores the impact of immersive technologies across multiple disciplines including advertising, data, arts, education, science, and journalism.

Immersive Worlds: Science, Narrative, and the Arts is a full-day, conference and exhibit held in the Baruch Performing Arts Center which explores the impact of immersive technologies across multiple disciplines including advertising, data, arts, education, science, and journalism.

Immersive Worlds: Science, Narrative, and the Arts is a full-day, conference and exhibit held in the Baruch Performing Arts Center which explores the impact of immersive technologies across multiple disciplines including advertising, data, arts, education, science, and journalism.

Immersive Worlds: Science, Narrative, and the Arts is a full-day, conference and exhibit held in the Baruch Performing Arts Center which explores the impact of immersive technologies across multiple disciplines including advertising, data, arts, education, science, and journalism.

Immersive Worlds: Science, Narrative, and the Arts is a full-day, conference and exhibit held in the Baruch Performing Arts Center which explores the impact of immersive technologies across multiple disciplines including advertising, data, arts, education, science, and journalism.

Kent Carlson - Matthew 4:12-17

In 2010, for the first time, an African nation hosted the FIFA World Cup. The advertisements surrounding the tournament used graphics and sounds intended to conjure the image of a vibrant, exotic land. In fact, though, the African-ness of the South African World Cup was pretty thin, when not wholly... Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2010, for the first time, an African nation hosted the FIFA World Cup. The advertisements surrounding the tournament used graphics and sounds intended to conjure the image of a vibrant, exotic land. In fact, though, the African-ness of the South African World Cup was pretty thin, when not wholly fabricated. For example, the music that introduced ESPN’s World Cup coverage sounded very African, as it opened with the sounding of an ox horn (the promo showed a bare-chested tribesman blowing the horn atop a mountain, silhouetted against the setting sun) and then built with pulsing drums and a choir singing layered refrains. But the piece had been written by a composer from Utah, the musicians had recorded it in Utah, and the choir consisted of members of the Broadway cast of The Lion King. At least Shakira’s ubiquitous song “Waka Waka (This Time for Africa)” had a more substantial African connection. It had been lifted, initially without credit, from a Cameroonian military song made popular in the 1980s by the group Golden Sounds. The ironies of the 2010 tournament in South Africa are revealed in a number of essays in Africa’s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space (University of Michigan Press, 2013), edited by Peter Alegi and Chris Bolsmann. In the interview with Peter, we learn of the findings and observations of the volume’s contributors: an international collection of anthropologists, architectural critics, bloggers, geographers, sociologists, journalists, photographers, and former players who all attended matches in South Africa. They make sharp criticisms of class divides at the venues, the nationalism and commercialism, and, of course, the imperial reach of FIFA. But as we hear from Peter, the book’s authors were also fans. When mixing with other fans outside the stadiums, and then cheering their teams when the matches began, even normally skeptical academics and journalists were caught up in the event. Their experiences show that, for all its faults, the FIFA World Cup is still an incomparable event. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2010, for the first time, an African nation hosted the FIFA World Cup. The advertisements surrounding the tournament used graphics and sounds intended to conjure the image of a vibrant, exotic land. In fact, though, the African-ness of the South African World Cup was pretty thin, when not wholly fabricated. For example, the music that introduced ESPN’s World Cup coverage sounded very African, as it opened with the sounding of an ox horn (the promo showed a bare-chested tribesman blowing the horn atop a mountain, silhouetted against the setting sun) and then built with pulsing drums and a choir singing layered refrains. But the piece had been written by a composer from Utah, the musicians had recorded it in Utah, and the choir consisted of members of the Broadway cast of The Lion King. At least Shakira’s ubiquitous song “Waka Waka (This Time for Africa)” had a more substantial African connection. It had been lifted, initially without credit, from a Cameroonian military song made popular in the 1980s by the group Golden Sounds. The ironies of the 2010 tournament in South Africa are revealed in a number of essays in Africa’s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space (University of Michigan Press, 2013), edited by Peter Alegi and Chris Bolsmann. In the interview with Peter, we learn of the findings and observations of the volume’s contributors: an international collection of anthropologists, architectural critics, bloggers, geographers, sociologists, journalists, photographers, and former players who all attended matches in South Africa. They make sharp criticisms of class divides at the venues, the nationalism and commercialism, and, of course, the imperial reach of FIFA. But as we hear from Peter, the book’s authors were also fans. When mixing with other fans outside the stadiums, and then cheering their teams when the matches began, even normally skeptical academics and journalists were caught up in the event. Their experiences show that, for all its faults, the FIFA World Cup is still an incomparable event. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nature Theater of Oklahoma talks to world-renowned Italian (and American! – from Kansas!) theater artist Romeo Castellucci about religion, moral imperative, spectatorship, time, and play.  A show in which we dare to ask the question “Romeo Castellucci, if you got fired from theater, what would you do with your life?”

This engaging day devoted to Pop and Conceptual artist Ed Ruscha, which kicked off the exhibition Ed Ruscha and Photography, revealed his important and widespread contributions to art of the past 50 years. Part of the Ed Ruscha and Photography Symposium. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.