The definitions of fatherhood have shifted in the twenty-first century as paternal subjectivities, conflicts, and desires have registered in new ways in the contemporary family. This collection investigates these sites of change through various lenses from popular culture - film, television, blogs, best-selling fiction and non-fiction, stand-up comedy routines, advertisements, newspaper articles, parenting guide-books, and video games. Treating constructions of the father at the nexus of patriarchy, gender, and (post)feminist philosophy, contributors analyze how fatherhood is defined in relation to masculinity and femininity, and the shifting structures of the heteronormative nuclear family. Perceptions of the father as the traditional breadwinner and authoritarian as compared to a more engaged and involved nurturer are considered via representations of fathers from the US, Canada, Britain, Australia, South Africa, and Sweden.

As a response to real or imagined subordination, popular culture reflects the everyday experience of ordinary people and has the capacity to subvert the hegemonic order. Drawing on central theoretical approaches in the field of critical disability studies, this book examines disability across a number of internationally recognised texts and objects from popular culture, including film, television, magazines and advertising campaigns, children’s toys, music videos, sport and online spaces, to attend to the social and cultural construction of disability. While acknowledging that disability features in popular culture in ways that reinforce stereotypes and stigmatise, Disability and Popular Culture celebrates and complicates the increasing visibility of disability in popular culture, showing how popular culture can focus passion, create community and express defiance in the context of disability and social change. Covering a broad range of concerns that lie at the intersection of disability and cultural studies, including media representation, identity, the beauty myth, aesthetics, ableism, new media and sport, this book will appeal to scholars and students interested in the critical analysis of popular culture, across disciplines such as disability studies, sociology and cultural and media studies.

If you owe a couple cavities to Marathon candy bars, learned your adverbs from Schoolhouse Rock!, and can still imitate the slo-mo bionic running sound of The Six Million Dollar Man, this book is for you. Whatever Happened to Pudding Pops? takes you back in time to the tastes, smells, and sounds of childhood in the '70s and '80s, when the Mystery Date board game didn't seem sexist, and exploding Pop Rocks was the epitome of candy science. But what happened to the toys, tastes, and trends of our youth? Some vanished totally, like Freakies cereal. Some stayed around, but faded from the spotlight, like Sea-Monkeys and Shrinky Dinks. Some were yanked from the market, revised, and reintroduced...but you'll have to read the book to find out which ones. So flip up the collar of that polo shirt and revisit with us the glory and the shame of those goofy decades only a native could love.

Can television shows like Modern Family, popular music by performers like Taylor Swift, advertisements for products like Samuel Adams beer, and films such as The Hunger Games help us understand rhetorical theory and criticism? The Third Edition of The Rhetorical Power of Popular Culture offers students a step-by-step introduction to rhetorical theory and criticism by focusing on the powerful role popular culture plays in persuading us as to what to believe and how to behave. In every chapter, students are introduced to rhetorical theories, presented with current examples from popular culture that relate to the theory, and guided through demonstrations about how to describe, interpret, and evaluate popular culture texts through rhetorical analysis. Author Deanna Sellnow also provides sample student essays in every chapter to demonstrate rhetorical criticism in practice. This edition’s easy-to-understand approach and range of popular culture examples help students apply rhetorical theory and criticism to their own lives and assigned work.

"In this superb account of how the British and American news mediarepresent everyday citizens and public opinion, the authors show howcoverage of politics and policy debates subtly - even inadvertently - urgepeople to see themselves as and thus to be politically passive,disengaged and cynical. The book's analysis of how journalistsmisrepresent, even invent, public opinion is alone worth the price ofadmission. Written with great verve, passion and unswerving clarity,Citizens or Consumers? promises to become an instant classic in the studyof the failings--and the still untapped promise--of the news media tofurther democracy." Susan J. Douglas, Catherine Neafie Kellogg Professor and Chair,Department of Communication Studies, The University of Michigan "Based on an exhaustive cross-Atlantic empirical study, Citizens or Consumers? is an engaging and incisive contribution to a subject usually restricted to clichés and vague generalizations. Looking not only at how media impact upon their audiences, but the manner in which that influence is mediated by the way in which citizenship itself is represented in news stories, Lewis et. al. offer us unusual and keen insight into a familiar world. Written in an engaging and lively style, first year students and experienced faculty members (as well as general readers) will benefit from its many perceptive insights. Especially useful are the last few pages which suggest how journalists might alter their representation practices to invoke citizenship rather than passive consumerism." Sut JhallyProfessor of Communication, University of Massachusetts at AmherstFounder & Executive Director, Media Education Foundation "The two great duelists for our attention - citizens and consumers - are locked in a struggle for the future of democracy. Citizens or Consumers? offers its readers a sharp lesson in how the media highlight and distort that struggle. It's the kind of lesson we all need." Toby Miller, author of Cultural Citizenship. In recent years there has been much concern about the general decline in civic participation in both Britain and the United States - especially among young people. At the same time we have seen declining budgets for serious domestic and international news and current affairs amidst widespread accusations of a “dumbing down” in the coverage of public affairs. This book enters the debate by asking whether the news media have played a role in producing a passive citizenry. And, if so, what might be done about it? Based on the largest study of the media coverage of public opinion and citizenship in Britain and the United States, this book argues that while most of us learn about politics and public affairs from the news media, we rarely see or read about examples of an active, engaged citizenry. Key reading for students in media and cultural studies, politics and journalism studies.

The function of print resources as instructional guides and descriptors of popular music pedagogy are addressed in this concise volume. Increasingly, public school teachers and college-level faculty members are introducing and utilizing music-related educational approaches in their classrooms. This book lists reports dealing with popular music resources as classroom teaching materials, and will stimulate further thought among students and teachers. It focuses on the growing spectrum of published scholarship available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles). Building on two recent publications: Teaching with Popular Music Resources: A Bibliography of Interdisciplinary Instructional Approaches, Popular Music and Society, XXII, no. 2 (Summer 1998), and American Culture Interpreted through Popular Music: Interdisciplinary Teaching Approaches (Bowling Green State University Popular Press, 2000), this volume focuses on the growing spectrum of published scholarship that is available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles).

Resource added for the Criminal Justice – Law Enforcement 105046 and Professional Studies 105045 programs.

A comprehensive, informal overview of world history and popular culture. Popular Culture: From Cavespace to Cyberspace traces the history of people's cultures from primitive to postmodern times. Educational, informative, and absorbing, this book contains interesting facts on such figures as King Tut, Henry Ford, Bill Gates, and Madonna, linking you to the world, past and present. Popular Culture highlights important historical events such as the American, French, Russian, and Chinese Revolutions while examining world-changing social movements. You will go on a journey through time, exploring the cultures of the world, venturing from cavespace to tomb space, to temple space, then medieval space, to modern space and post-modern epochs, and finally to cyberspace. While moving through cultural history, you will explore such stories and discoveries as: the 1991 discovery of Oetzi the Ice Man, who is 5,300 years old the legends of the Greeks, Romans, Egyptians, and Americans who or what turned on the light to the Dark Ages the impact of René Descartes: “I think, therefore I am,” and the inspiration of the Enlightenment modernism and the determination to be up to date the incredible 20th century that McDonaldized the world postmodernism and its technology cyburbia and globalism Popular Culture contains a wide collection of stories covering cultural phenomena such as Tutmania, the Crusades, the Ninja Turtles, Hamburger University, elitism, Shakespeare, America's Frontier Thesis, The Global Village, and the coming millennium. You will be intrigued by the plethora of fascinating links that Professor Fishwick makes in this comprehensive guide to ever-changing popular culture.

The term 'Popular Music' has traditionally denoted different things in France and Britain. In France, the very concept of 'popular' music has been fiercely debated and contested, whereas in Britain and more largely throughout what the French describe as the 'Anglo-saxon' world 'popular music' has been more readily accepted as a description of what people do as leisure or consume as part of the music industry, and as something that academics are legitimately entitled to study. French researchers have for some decades been keenly interested in reading British and American studies of popular culture and popular music and have often imported key concepts and methodologies into their own work on French music, but apart from the widespread use of elements of 'French theory' in British and American research, the 'Anglo-saxon' world has remained largely ignorant of particular traditions of the study of popular music in France and specific theoretical debates or organizational principles of the making and consuming of French musics. French, British and American research into popular music has thus coexisted - with considerable cross-fertilization - for many years, but the barriers of language and different academic traditions have made it hard for French and anglophone researchers to fully appreciate the ways in which popular music has developed in their respective countries and the perspectives on its study adopted by their colleagues. This volume provides a comparative and contrastive perspective on popular music and its study in France and the UK.

Listening to popular music and watching television have become the two most common activities for postwar generations in Britain. From the experiences of programmes like Oh Boy! and Juke Box Jury, to the introduction of 24 hour music video channels, the number and variety of television outputs that consistently make use of popular music, and the importance of the small screen as a principal point of contact between audiences and performers are familiar components of contemporary media operation. Yet there have been few attempts to examine the two activities in tandem, to chart their parallel evolution, to explore the associations that unite them, or to consider the increasingly frequent ways in which the production and consumption of TV and music are linked in theory and in practice. This volume provides an invaluable critical analysis of these, and other, topics in newly-written contributions from some of Britain's leading scholars in the disciplines of television and/or popular music studies. Through a concentration on four main areas in which TV organises and presents popular music - history and heritage; performers and performances; comedy and drama; audiences and territories - the book investigates a diverse range of musical genres and styles, factual and fictional programming, historical and geographical demographics, and the constraints of commerce and technology to provide the first systematic account of the place of popular music on British television.