The definition of darkness is a total absence of light, cold places where the sun has wrenched back its touch. Darkness holds the wickedness we fear, the boogeyman in our closet, the ghouls under our bed. Children are reassured over and over again that those kinds of monsters aren’t real, can’t be real, only learning to turn off their night-light because they are never told of the ones that are. The only monster eighteen-year-old Liam Stevens believes in is the one he feels he became when his boyfriend, Elliott, died in a car accident. It was Liam’s text he was reading after all. A year later, he still bears tremendous guilt. The tormenting high school bullies only seem more driven now that Elliott is gone. Liam assumes he deserves the abuse, thinking he doesn’t deserve light after snuffing it out. That is, until he meets Charlie. Charlie is caring, genuine, and happy—all things Liam needs. But he also carries scars and a secret that makes him less of a stranger after all. While Liam is beginning to fall in love again, Charlie is trying not to, hiding the fact that the bullies have only been hurting Liam to get closer to Charlie. Because the truth is that darkness is hungry. A demon will do anything in its power to rid the world of the light it craves, the warmth it cannot have. They had already stolen that light from Elliott and don’t plan on stopping until every last drop of Liam’s is gone too. Once Liam uncovers the truth, he has to decide if he trusts Charlie, even if doing so leaves him with more blood on his hands.
This book sheds light on how the public engage with, make sense of, and discursively evaluate news media constructions of people from asylum seeking backgrounds. As a case study, the author discusses her recent research combining Critical Discourse Analysis with a cultural studies Audience Reception framework to examine the perspectives of 24 Western Australians who took part in semi-structured interviews. During their interviews, participants were asked open-ended questions about: their general views on people seeking asylum, including Australia’s policy responses, their media engagement habits and preferences, and their views concerning how the Australian media represents people seeking asylum. The author compares and contrasts this research with broader interdisciplinary discussion, and the book will therefore appeal to students and scholars of migration, political communication, sociology, audience reception, critical media studies and sociolinguistics.
Fake News in Digital Cultures presents a new approach to understanding disinformation and misinformation in contemporary digital communication, arguing that fake news is not an alien phenomenon undertaken by bad actors, but a logical outcome of contemporary digital and popular culture.
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