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Harrold Jess: Marvel Studios' The
Fantastic Four: First Steps - Family Po

Marvel Studios' The Fantastic Four: First Steps - Family Portraits: Photos From The Set

Digital Culture & Society

Technologies and technological futures are always socially situated, relational, and enmeshed in (dominant) narratives of societal sense-making, which have the power to bring future ideas into material existence. The issue brings together articles exploring popular techno-futures from international and interdisciplinary perspectives, including cultural and media studies, science and technology studies, and related disciplines. The contributors decenter the discussion on socio-technical futures and the role of popular culture, aesthetics and media in their (re)production by focusing on societal tech-future discourses from global popular perspectives.

Vol. 11, Issue 2/2025 – Towards Popular Techno-Futures: A Global Culture Perspective

Digital Culture & Society (DCS)

The Oral History of Gossip Girl

You Know You Love Me

Notes on the Anti-Colonial Imagination

Analogue Africa

Graveyard Gothic

This book aims to provide readers with a systematic understanding of traditional visual effects production, covering both internal VFX studio operations and external collaborations. It is divided into six chapters covering a range of topics.

An Enlightenment Education Book on Film Visual Effects

Invisible Visual Effects

Horror Studies

Blending folklore studies, media theory, horror criticism and cultural geography, this collection charts an unprecedented map of urbanlegend storytelling, from haunted cemeteries to pixelated backrooms. Across three themed sections, international scholars trace how tales of hookhanded killers and countless other spectres migrate through oral tradition, cinema, television, board games and video games, to continually reshape the fears and identities of the communities that share them. By foregrounding space the cemetery, the highway, the small town, the livestreamed haunted house as a dynamic agent rather than passive backdrop, the book reveals how legends build cultural memory, police social boundaries and critique neoliberal landscapes. Interdisciplinary, globally-scoped and mediaagnostic, this volume moves beyond folkloric catalogues and genre surveys to show precisely where horror lives today and why those locations matter.

and the Cultural Geography of Horror

Urban Legends

Selected Writings 1963-2002

Arrows of Desire

Building on contemporary scholarship on post-network television, feminism, melodrama, and crime television, Alison Wielgus analyzes post-network female detective television through the lenses of genre, industry, and discourses of police abolition to argue for a radicalization of crime television that incorporates discourses of restorative justice and a feminist ethics of care. This book positions post-network female detective television as a primary site to examine the intersections of cultural discourses like #MeToo and Black Lives Matter, analyzing the roles of several components of the genre including serialization, circulation, family trauma, transnational victimhood, and discourses of police abolition, among others. Drawing on narrative and genre theory, this book argues that a melodrama/crime television dialectic undergirds post-network detective television, allowing the female detective to emerge as a contested figure representative of larger cultural tensions between gender and policing. While changing industrial measures have allowed for niche programing to evolve and more rigorously interrogate gender norms, Wielgus finds that this disruption rarely extends to the institution of policing itself. #MeToo's imperatives and precursors have worked toward deepening and complicating depictions of sexual assault and femicide with narrative nuance, but there remains an uneasy relationship between Black Lives Matter and policing discourses and the desire to position female detectives as heroic saviors in the production of copaganda narratives. Ultimately, this book identifies a central problem of crime television in the limitations the genre places on the construction and representation of the structural and societal functions of policing, even amid other strides in progressive representation.

Mother, Maiden, Cop

Female Detectives on Post-Network Television

A Step-by-Step Guide to Creating Cartoons, Characters, and Fan Art

Caricature Drawing Made Easy

Here for All the Reasons is a collection of personal essays that explore the many reasons why The Bachelor franchise lives rent free in Bachelor Nation's hearts and minds.

#BachelorNation on Why We Watch

Here For All the Reasons

Jason Bourne

Robert Ludlum's™ The Bourne Revenge

Marvel Studios' The Fantastic Four: First Steps - Family Portraits: ...

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