Even prior to the field’s invention, Susanne Langer implied that the arts are all subtopics of Communication Studies. This unique project has effectively allowed the author to combine his backgrounds in the interdisciplinary fields of popular music studies, cultural theory, communication studies, and the practice of music criticism. This book investigates the fascinating and important work of the British group Radiohead, named by Time Magazine among its Top 100 Most Influential People of 2008, and focuses particularly on their landmark recording OK Computer (1997), a document preserved as part of the Library of Congress National Recording Registry in 2015. Probing the band’s exploration of the crucial issues surrounding contemporary technological development, especially as it relates to the concern of human survival, Radiohead and the Global Movement for Change is essentially a work of criticism that in its analysis combines what is known as ‘musical hermeneutics’ with the media ecology perspective. In this way, the author delineates how Radiohead’s work operates as a clarion call that directs our attention to the troubling complex of cultural conditions that Neil Postman (1992) identifies as ‘Technopoly’ or ‘the surrender of culture to technology’—a phenomenon that must become more broadly recognized and comprehended in order for it to be successfully confronted. This book’s distinguishing features include: 1) its edifying analysis of a richly profound and celebrated musical text; 2) its extended focus upon what Martin Heidegger famously refers to as ‘the question concerning technology’; 3) its use of the media ecology scholarly tradition at whose core lies communication study; and 4) its innovative and unique deployment of the affect-script theory of American personality theorist Silvan Tomkins in the study of musical communication.

Since Radiohead’s formation in the mid-1980s, the band has celebrated three decades of creative collaboration and achieved critical acclaim across music genres as cultural icons. Recognized not only for their musical talent and daring experimentation, Radiohead is also known for its work’s engagement with cultural and political issues. Phil Rose dissects Radiohead’s entire catalog to reveal how the music directs our attention toward themes like cyber technology, the environment, terrorism, and the inevitability of the apocalypse. With each new album, Radiohead has sought to reinvent its sound and position in the music industry. Abandoning traditional distribution for their 2007 In Rainbows album, Radiohead experimented with a pay-what-you-want model that embraced the crowd-sourced commerce that has continued to gain prominence in modern consumer culture. In addition to chronicling the band members’ various solo projects, Rose outlines Radiohead’s political and civic activism. As the most up-to-date and thorough discussion of this landmark body of musical multimedia, Radiohead: Music for a Global Future recounts the band’s triumphs and tragedies along with their role at the forefront of adaptation both to a changing music industry and a rapidly changing world.

Everything in its Right Place identifies the secret to Radiohead's immense commercial and critical success in the band's ability to navigate a sweet spot between expectation and surprise. The author uses tools from musical perception, semiotics, and music theory to demonstrate this reconciliation of extremes, and analyzes musical meaning with lyrics, biographical details, and intertextual relationships.

Global communication can be difficult in the best of circumstances. The contributors in this book take seriously the premise that one can examine communication within specific global settings and scenes with the goal of ensuring that the meanings made among those within specific communities is more clearly understood. This includes recognizing that we often communicate based on specific assumptions and act in ways that have normative bases that are shared with those within communities, but are often difficult to discern or navigate by those who are not members of them. Situated within the Ethnography of Communication research program, the contributors in this volume use Cultural Discourse Analysis to examine such practices, a theory and methodology developed by Donal Carbaugh over the past thirty years. The book is a celebration of his work and career, in which forty-four prominent Communication scholars and practitioners come together to use this framework to examine pressing communication issues across the globe. The book includes a preface by Gerry Philipsen that is an academic history of Carbaugh’s career, an introduction outlining the history and current practice of Cultural Discourse Analysis, sixteen data based chapters using the framework to examine a broad range of inter/cultural communication practices across the globe, and an epilogue by Carbaugh reviewing this research and its future trajectory. The book is a handbook of Cultural Discourse Analysis for examining the latest in Cultural Discourse Analysis research and learning how to do such work that will be useful to advanced undergraduate and graduate students in a broad range of fields, inter/cultural communication scholars, and all those who seek to better understand and communicate in the global world today.

WINNER OF THE 2019 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZE FOR EDITED COLLECTIONS The Routledge Companion to the Study of Local Musicking provides a reference to how, cross-culturally, musicking constructs locality and how locality is constructed by the musicking that takes place within it, that is, how people engage with ideas of community and place through music. The term "musicking" has gained currency in music studies, and refers to the diverse ways in which people engage with music, regardless of the nature of this engagement. By linking musicking to the local, this book highlights the ways in which musical practices and discourses interact with people’s everyday experiences and understandings of their immediate environment, their connections and commitment to that locality, and the people who exist within it. It explores what makes local musicking "local." By viewing musicking from the perspective of where it takes place, the contributions in this collection engage with debates on the processes of musicking, identity construction, community-building and network formation, competitions and rivalries, place and space making, and local-global dynamics.

Cosmopolitanism and the Development of the International Criminal Court analyzes a set of prominent and competing discourses that emerged in the context of the development and establishment of the International Criminal Court (ICC). The ICC is the first permanent juridical body designed to prosecute individuals who commit offences including war crimes, crimes against humanity, and genocide. Drawing on scholarship on public memory and human rights, the book argues that international law and the international human rights system play a key role for the development of transnational memory discourses and transnational or cosmopolitan subjectivities. Despite the International Criminal Court being recognized as a landmark development in global cooperation, an examination of key events in the development of the court shows how some state and nonstate actors advance calls for cosmopolitanism while others resist cosmopolitanism to bolster nation-state sovereignty. Drawing on the establishment of the International Criminal Court as a case study, the book examines several events that continue to shape national and international public discourse. The book examines debates that occurred during the drafting process of the international treaty at the United Nations and that led to the groundbreaking inclusion of provisions on gender and sexual violence in the Rome Statute of the ICC in 1998. The analysis discusses the tension between feminist advocates’ rhetoric and the discourse of anti–women’s rights actors involved in the treaty-making process who resisted such inclusions in international criminal law. The book analyzes other key events related to the establishment of the ICC that invoke tensions between competing demands of cosmopolitanism and national sovereignty, including advocacy campaigns by nongovernmental organizations working to drum up public support of the institution of the International Criminal Court and the debates surrounding the unprecedented act of the United States “unsigning” an international treaty. In sum, this examination of the rhetoric of state and nonstate actors attempting to shape the court according to their visions of global community shows how discourses about international criminal law and human rights are employed not only to advance cosmopolitanism but also to strengthen nationalist discourses.

How Non-being Haunts Being reveals how the human world is not reducible to “what is.” Human life is an open expanse of “what was” and “what will be,” “what might be” and “what should be.” It is a world of desires, dreams, fictions, historical figures, planned events, spatial and temporal distances, in a word, absent presences and present absences. Corey Anton draws upon and integrates thinkers such as Jean-Paul Sartre, Henri Bergson, Kenneth Burke, Terrence Deacon, Lynn Margulis, R. D. Laing, Gregory Bateson, Douglas Harding, and E. M. Cioran. He discloses the moral possibilities liberated through death acceptance by showing how living beings, who are of space not merely in it, are fundamentally on loan to themselves. A heady multidisciplinary work, How Non-being Haunts Being explores how absence, incompleteness, and negation saturate life, language, thought, and culture. It details how meaning and moral agency depend upon forms of non-being, and it argues that death acceptance in no way inevitably slides into nihilism. Thoroughgoing death acceptance, in fact, opens opportunities for deeper levels of self-understanding and for greater compassion regarding our common fate. Sure to provoke thought and to stimulate much conversation, it offers countless insights into the human condition.

Around the time this book is being written the world is faced with threats of terrorism, random shootings in various public places on a global scale, increased school violence especially in the United States, increased racial, ethnic, and religious tension worldwide as well as global forced displacement of people due to violence and human rights violations. Given this context, this project turns attention to the problematic of the “uprootedness of the modern man” in our age of technological advancement, globalization, and distraction. It introduces an innovative perspective to the study of communication ethics and the larger field of communication studies through an aesthetic ecology framework. The concept of aesthetic ecology refers to an environment that involves material, conceptual, and contemplative elements that are part of the ongoing dialogue between our sensuous and interpretive engagements in/with the world. Each chapter of this book explores an aspect of this aesthetic ecology in facilitating existential rootedness in connection to communication ethics.

Discourse of Reciprocity reveals patterns of press behavior in the US-Canada alliance at points where the nature of the alliance itself was under stress. Drawing on journalism studies, discourse analysis, political communication, and international relations, the book explores examples of international policymaking in national security, agriculture, and energy issues. Drawing on coverage in The New York Times and The Globe and Mail, the book articulates concepts of news as providing positive symbolic presence, exhibiting forbearance, and exhibiting cooperation. This trio of press behaviors—evident in the structure of the news coverage itself—matches the definition of reciprocity used in fields such as international relations and game theory. The book gives equal consideration to the coverage in The New York Times and The Globe and Mail, articulating country-specific examples of how press coverage enacts reciprocity. Five cases cover the period from 1980 to the present, including the Keystone pipeline proposal and the discovery of mad cow disease in North America. The cases include Liberal and Conservative governments in Canada and Republican and Democratic administrations in the United States. This binational study sheds light on an understudied dynamic contributing to the reciprocity that sustains the alliance. The book adds to the relatively limited literature on news coverage of alliances. The book also illustrates how to implement discourse analysis in news framing research in a much more extensive way than previous political communication or international relations literature.

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father’s name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance—sets, lighting, photography, shot breakdowns, editing—and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.