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This major text offers a critical reappraisal of the contemporary practice of cultural studies. It focuses in particular on the contribution of cultural studies to the understanding of media, communications and popular cultures in contemporary societies. The contributors, an outstanding group of internationally acclaimed scholars, examine topics such as: the different strands of cultural studies and how they are developed; whether cultural studies is a coherent discipline; tensions and debates within cultural studies; alternative or related approaches to contemporary media and society; and the movement by cultural studies revisionists towards more empirical and sociological modes of analysis.

The growing connections between media, culture, and religion are increasingly evident in our society today but have rarely been linked theoretically until now. Beginning with the decline of religious institutions during the latter part of this century, Rethinking Media, Religion, and Culture focuses on issues such as the increasing autonomy and individualized practice of religion, the surge of media and media-based icons that are often imbued with religious qualities, and the ensuing effect on cultural practices. Editors Stewart M. Hoover and Knut Lundby examine each of these issues and the implications of major recent findings of religious, media, and cultural studies as they pertain to one another. In a primary effort, the leading class of contributors to this work effectively triangulate these three separate areas into a coherent whole. The book explores phenomena like rallies, rituals, and resistance as they are distinct expressions of religion often transmogrified into different mediated or cultural expressions. This collection should benefit the work of scholars and researchers in communication, media, cultural, and religious studies who seek a broader understanding of the two-sided relationships between religion and media, media and culture, and culture and religion.

Wayne Munson examines the talkshow as a cultural form whose curious productivity has become vital to America's image economy. As the very name suggests, the talkshow is both interpersonal exchange and mediated spectacle. Its range of topics defies classification: from the sensational and bizarre, to the conventional and the advisory, to politics and world affairs. Munson grapples with the sense and nonsense of the talkshow, particularly its audience participation and its construction of knowledge. This hybrid genre includes the news/talk'magazine,'celebrity chat, sports talk, psychotalk, public affairs forum, talk/service program, and call-in interview show. All share characteristics of lucidity and contradiction—the hallmarks of postmodernity—and it is this postmodern identity that Munson examines and links to mass and popular culture, the public sphere, and contemporary political economy. Munson takes a close look at the talkshow's history, programs, production methods, and the'talk'about it that pervades media culture—the press, broadcasting, and Hollywood. He analyzes individual shows such as'Geraldo,''The Morton Downey Show,''The McLaughlin Group,'and radio call-in'squawk'programs, as well as movies such as Talk Radio and The King of Comedy that investigate the talkshow's peculiar status. Munson also examines such events as the political organizing of talkhosts and their role in the antitax and anti-incumbency groundswells of the 1990s. In so doing, Munson demonstrates how'infotainment'is rooted in a deliberate uncertainty. The ultimate parasitic media form, the talkshow promiscuously indulges in—and even celebrated—its dependencies and contradictions. It'works'by'playing'with boundaries and identities to personalize the political and politicize the personal. Arguing that the talkshow's form and host are productively ill-defined, Munson asks whether the genre is a degradation of public life or part of a new, revitalized public sphere in which audiences are finally and fully'heard'through interactive.

Total Propaganda moves the study of propaganda out of the exclusive realm of world politics into the more inclusive study of popular culture, media, and politics. All the participatory functioning elements of the society are aspects of membership in the popular culture. Thus, the values of popular music, media, politics, debates over social issues, and even international trade become everyday propaganda to which everyone may relate.To emphasize the necessity for new thinking about propaganda, Edelstein creates the concepts of the new propaganda and the old, and he devises a language of'uninyms'to convey their meanings more quickly.'Oldprop'is characteristic of mass cultures and utilizes totalitarian methods of conflict, hegemony, minimization, demonization, and exclusiveness to achieve its goals. By contrast,'newprop'is created by members of the popular culture to allow them to engage in accomodation, enhance the individual, and promote inclusiveness. Shifts in the old and the new propaganda are tracked across social issues such as race, religion, sexuality, gender, gun control, and the environment, as well as in fashion, politics, advertising, sports, media, and politics.Central to the concept of total propaganda is that it is not simply additive; it is the product of new energies that are produced by the fusing of propaganda in such related forums as music, art, advertising, sports and politics. It is these synergies, and their production of new energies, that make total propaganda greater than the sum of its parts.Edelstein concludes that the most important distinction that should be drawn between mass culture and popular culture is its text; i.e., its propaganda. In a popular culture, everyone creates and consumes propaganda; in a mass culture almost everyone consumes it but only a few create it. This formulation offers new ways to discuss power and ideology in media texts. As an example, where once the least informed and the least educated were the most subject to propaganda, now the most informed and most educated often are the first to create propaganda and the first to consume it.

International Media Research offers a rigorous and critical review of key approaches and concerns that have recently defined the field of media research. In this clearly argued collection of essays, the contributors analyze and reflect upon dominant themes and debates that have made media research an increasingly important element of cultural theory. The volume begins with a critical evaluation of the work of the leading media scholar, Elihu Katz, and continues with an exploration of the relationship between media studies and adjacent disciplines: cultural studies and gender and sexuality.Contributors drawn from Britain, America, Canada and Belgium consider the relationships between media research and media policy in different national and international contexts. Focusing on the European Union, East-Central Europe, North America and Latin America, chapters assess the impact of social, economic and political circumstances on policy debates and the shaping of the research agenda. The final chapter adopts a transatlantic perspective in tracing and analysing the history of the media's role in reporting war.