"To be continued..." Whether these words fall at the end of The Empire Strikes Back or a TV commercial flirtation between coffee-loving neighbors, true fans find them impossible to resist. Ever since the 1830s, when Charles Dickens's Pickwick Papers enticed a mass market for fiction, the serial has been a popular means of snaring avid audiences. In Consuming Pleasures jennifer Hayward establishes serial fiction as a distinct genre-one defined by the activities of its audience rather than by the formal qualities of the text. Ranging from installment novels, mysteries, and detective fiction of the 1800s to the television and movie series, comics, and advertisements of the twentieth century, serials are loosely linked by what may be called, after Wittgenstein, "family resemblances." These traits include intertwined subplots, diverse casts of characters, dramatic plot reversals, suspense, and such narrative devices as long-lost family members and evil twins. Hayward chooses four texts—Dickens's novel Our Mutual Friend (1864-65), Milton Caniff's comic strip Terry and the Pirates (1934-46), and the soap operas All My Children (1970-) and One Life to Live (1968-)—to represent the evolution of serial fiction as a genre, and to analyze the peculiar draw serials have upon their audiences. Although the serial has enjoyed great marketplace success, traditional literary and social critics have denounced its ties to mass culture, claiming it preys upon passive fans. But Hayward argues that active serial audiences have developed identifiable strategies of consumption, such as collaborative reading and attempts to shape the production process.

How is it that American intellectuals, who had for 150 years worried about the deleterious effects of affluence, more recently began to emphasize pleasure, playfulness, and symbolic exchange as the essence of a vibrant consumer culture? The New York intellectuals of the 1930s rejected any serious or analytical discussion, let alone appreciation, of popular culture, which they viewed as morally questionable. Beginning in the 1950s, however, new perspectives emerged outside and within the United States that challenged this dominant thinking. Consuming Pleasures reveals how a group of writers shifted attention from condemnation to critical appreciation, critiqued cultural hierarchies and moralistic approaches, and explored the symbolic processes by which individuals and groups communicate. Historian Daniel Horowitz traces the emergence of these new perspectives through a series of intellectual biographies. With writers and readers from the United States at the center, the story begins in Western Europe in the early 1950s and ends in the early 1970s, when American intellectuals increasingly appreciated the rich inventiveness of popular culture. Drawing on sources both familiar and newly discovered, this transnational intellectual history plays familiar works off each other in fresh ways. Among those whose work is featured are Jürgen Habermas, Roland Barthes, Umberto Eco, Walter Benjamin, C. L. R. James, David Riesman and Marshall McLuhan, Richard Hoggart, members of London's Independent Group, Stuart Hall, Paddy Whannel, Tom Wolfe, Herbert Gans, Susan Sontag, Reyner Banham, and Robert Venturi and Denise Scott Brown.

Tracing the international and Australian history of both licit and illicit drug use, this investigation combines the topic of drug use with analyses of political power, the rise of the market, and social issues. It examines the way in which drug consumption is regulated in the era of global free trade by first looking at the start of the opium-growing industry and the racist origins of drug laws. Providing a social history of drug use through the lens of international politics, market forces, medicine, and race, this discussion also considers the paradox of contemporary, white Australian identity and an Australia as a nation of people whose per capita drug consumption often equals and surpasses that of most other nations.

Drug-use.

On a summer night in 2007, the Azure Party, part of Sydney’s annual gay and lesbian Mardi Gras, is underway. Alongside the party outfits, drugs, lights, and DJs is a volunteer care team trained to deal with the drug-related emergencies that occasionally occur. But when police appear at the gates with drug-detecting dogs, mild panic ensues. Some patrons down all their drugs, heightening their risk of overdose. Others try their luck at the gates. After twenty-six attendees are arrested with small quantities of illicit substances, the party is shut down and the remaining partygoers disperse into the city streets. For Kane Race, the Azure Party drug search is emblematic of a broader technology of power that converges on embodiment, consumption, and pleasure in the name of health. In Pleasure Consuming Medicine, he illuminates the symbolic role that the illicit drug user fulfills for the neoliberal state. As he demonstrates, the state’s performance of moral sovereignty around substances designated “illicit” bears little relation to the actual dangers of drug consumption; in fact, it exacerbates those dangers. Race does not suggest that drug use is risk-free, good, or bad, but rather that the regulation of drugs has become a site where ideological lessons about the propriety of consumption are propounded. He argues that official discourses about drug use conjure a space where the neoliberal state can be seen to be policing the “excesses” of the amoral market. He explores this normative investment in drug regimes and some “counterpublic health” measures that have emerged in response. These measures, which Race finds in certain pragmatic gay men’s health and HIV prevention practices, are not cloaked in moralistic language, and they do not cast health as antithetical to pleasure.

Exploring diverse aspects of leisure and tourism, this text presents a mix of attitudes and ideas ranging from the methodologies behind leisure practices to detailed case studies which include Disneyland Paris and leisure in cyberspace.

While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010–2020), ABC's reality franchises, The Bachelor (2002–present) and The Bachelorette (2003–present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

The first edition of a seminal work on fans and communities We are all fans. Whether we log on to Web sites to scrutinize the latest plot turns in Lost, “stalk” our favorite celebrities on Gawker, attend gaming conventions, or simply wait with bated breath for the newest Harry Potter novel—each of us is a fan. Fandom extends beyond television and film to literature, opera, sports, and pop music, and encompasses both high and low culture. Fandom brings together leading scholars to examine fans, their practices, and their favorite texts. This unparalleled selection of original essays examines instances across the spectrum of modern cultural consumption from Karl Marx to Paris Hilton, Buffy the Vampire Slayer to backyard wrestling, Bach fugues to Bollywood cinema ̧ and nineteenth-century concert halls to computer gaming. Contributors examine fans of high cultural texts and genres, the spaces of fandom, fandom around the globe, the impact of new technologies on fandom, and the legal and historical contexts of fan activity. Fandom is key to understanding modern life in our increasingly mediated and globalized world.

This book analyses the founding years of consumer law and consumer policy in Europe. It combines two dimensions: the making of national consumer law and the making of European consumer law, and how both are intertwined. The chapters on Germany, Italy, the Nordic countries and the United Kingdom serve to explain the economic and the political background which led to different legal and policy approaches in the then old Member States from the 1960s onwards. The chapter on Poland adds a different layer, the one of a former socialist country with its own consumer law and how joining the EU affected consumer law at the national level. The making of European consumer law started in the 1970s rather cautiously, but gradually the European Commission took an ever stronger position in promoting not only European consumer law but also in supporting the building of the European Consumer Organisation (BEUC), the umbrella organisation of the national consumer bodies. The book unites the early protagonists who were involved in the making of consumer law in Europe: Guido Alpa, Ludwig Krämer, Ewa Letowska, Hans-W Micklitz, Klaus Tonner, Iain Ramsay, and Thomas Wilhelmsson, supported by the younger generation Aneta Wiewiórowska Domagalska, Mateusz Grochowski, and Koen Docter, who reconstructs the history of BEUC. Niklas Olsen and Thomas Roethe analyse the construction of this policy field from a historical and sociological perspective. This book offers a unique opportunity to understand a legal and political field, that of consumer law and policy, which plays a fundamental role in our contemporary societies.

The book explores European artists' critical engagement with the images and stories that politicians and the media use to advocate globalization.