How can we engage critically with music video and its role in popular culture? What do contemporary music videos have to tell us about patterns of cultural identity today? Based around an eclectic series of vivid case studies, this fresh and timely examination is an entertaining and enlightening analysis of the forms, pleasures, and politics that music videos offer. In rethinking some classic approaches from film studies and popular music studies and connecting them with new debates about the current 'state' of feminism and feminist theory, Railton and Watson show why and how we should be studying music videos in the twenty-first century. Through its thorough overview of the music video as a visual medium, this is an ideal textbook for Media Studies students and all those with an interest in popular music and cultural studies.
In this engrossing study of religion, urban life, and commercial culture, Diane Winston shows how a (self-styled "red-hot") militant Protestant mission established a beachhead in the modern city. When The Salvation Army, a British evangelical movement, landed in New York in 1880, local citizens called its eye-catching advertisements "vulgar" and dubbed its brass bands, female preachers, and overheated services "sensationalist." Yet a little more than a century later, this ragtag missionary movement had evolved into the nation's largest charitable fund-raiser--the very exemplar of America's most cherished values of social service and religious commitment. Winston illustrates how the Army borrowed the forms and idioms of popular entertainments, commercial emporiums, and master marketers to deliver its message. In contrast to histories that relegate religion to the sidelines of urban society, her book shows that Salvationists were at the center of debates about social services for the urban poor, the changing position of women, and the evolution of a consumer culture. She also describes Salvationist influence on contemporary life--from the public's post-World War I (and ongoing) love affair with the doughnut to the Salvationist young woman's career as a Hollywood icon to the institutionalization of religious ideals into nonsectarian social programs. Winston's vivid account of a street savvy religious mission transformed over the decades makes adroit use of performance theory and material culture studies to create an evocative portrait of a beloved yet little understood religious movement. Her book provides striking evidence that, counter to conventional wisdom, religion was among the seminal social forces that shaped modern, urban America--and, in the process, found new expression for its own ideals.
The Scope and Limits of Partiality takes as its starting point the fact that we demonstrate partiality toward those to whom we stand in intimate relationships, a fact which presents both theoretical and practical challenges. At the theoretical level, Diane Jeske argues that we have fundamental reasons to care for our intimates, but that that fact alone does not justify our practices of partiality. This is because we also have fundamental reasons to care for persons in need, be they intimates or strangers. At the normative level, she argues that our intimate relationships, be they to other persons or to non-human animals, add great value to our lives, and that public policy ought to acknowledge the great diversity of intimate relationships rather than emphasizing romance and marriage in the way that it does. In the theoretical half of the book, Jeske defends the 'relationships view' of reasons of intimacy against its primary competitors. First, Jeske argues that consequentialist attempts to accommodate partiality fail to address the fundamental issues regarding our reasons to care for intimates. Second, she argues that the main non-consequentialist alternatives to the relationships view - the 'projects view' and the 'individuals view' - fail to present compelling cases against the relationships view. In the normative half of the book, Jeske offers a detailed picture of the intimate relationship of friendship, arguing against views that over intellectualize or romanticize friendship by drawing upon her own lived experience of friendship. She then considers our relationships to our companion dogs and cats, showing that these relationships are unique sites for intimacy, and, thus, for value. Finally, she turns to consider how intimacy is treated in the public sphere, focusing on the special cultural and legal attention given to marriage, and to how we ought to approach our intimate relationships and our reasons to care for our intimates in a highly imperfect world where so many people are deprived of the basic necessities of life. The Scope and Limits of Partiality presents a comprehensive account of intimacy and partiality in both theory and reality.
This book provides answers to both normative and metaethical questions in a way that shows the interconnection of both types of questions, and also shows how a complete theory of reasons can be developed by moving back and forth between the two types of questions. It offers an account of the nature of intimate relationships and of the nature of the reasons that intimacy provides, and then uses that account to defend a traditional intuitionist metaethics. The book thus combines attention to the details of the lived moral life – the context in which many of our most pressing moral questions arise, how we deliberate and make moral decisions, the complexities that plague our attempts to know what we ought to do – with theoretical rigor in offering an account of the nature of reasons, how we come to have moral knowledge, and how we can adjudicate between competing positions.
How can we engage critically with music video and its role in popular culture? What do contemporary music videos have to tell us about patterns of cultural identity today? Based around an eclectic series of vivid case studies, this fresh and timely examination is an entertaining and enlightening analysis of the forms, pleasures, and politics that music videos offer. In rethinking some classic approaches from film studies and popular music studies and connecting them with new debates about the current 'state' of feminism and feminist theory, Railton and Watson show why and how we should be studying music videos in the twenty-first century. Through its thorough overview of the music video as a visual medium, this is an ideal textbook for Media Studies students and all those with an interest in popular music and cultural studies.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.