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Power, form and subjectivity
Author: John Corner

This book explores how issues of power, form and subjectivity feature at the core of all serious thinking about the media, including appreciations of their creativity as well as anxiety about the risks they pose. Drawing widely on an interdisciplinary literature, the author connects his exposition to examples from film, television, radio, photography, painting, web practice, music and writing in order to bring in topics as diverse as reporting the war in Afghanistan, the televising of football, documentary portrayals of 9/11, reality television, the diversity of taste in the arts and the construction of civic identity. The book is divided into two parts. In the first part, three big chapters on each of the key notions provide an interconnected discussion of the media activities opened up for exploration and the debates they have provoked. The second part presents examples, arguments and analysis drawing on the author's previous work around the core themes, with notes placing them in the context of the whole book. The book brings together concepts both from Social Studies and the Arts and Humanities, addressing a readership wider than the sub-specialisms of media research. It refreshes ideas about why the media matter, and how understanding them better remains a key aim of cultural inquiry and a continuing requirement for public policy.

The transgressive zine culture of industrial music in the 1970s and 1980s
Benjamin Bland

A. Juno (eds), RE/Search 4/5: William S. Burroughs, Throbbing Gristle, Brion Gysin (San Francisco, CA: V/Search Productions, 1982), p. 87. 15 ‘Throbbing Gristle’, in RE/Search 6/7, p. 19. 16 David Welch, The Third Reich: Politics and Propaganda (Abingdon: Routledge, 2002), p. 26. 17 Such an approach would inevitably necessitate a sustained engagement with Walter Benjamin. For a brief Benjamin-ian perspective, see Erich Hertz, ‘Rethinking Aura Through Temporality: Benjamin and “Industrial Otherness”’, in Institute of Cultural Inquiry (ed.), Benjamin’s Blind Spot

in Ripped, torn and cut
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Thomas Osborne

separates its scope from those of other kinds of inquiry, including other types of cultural inquiry, we can be forgiven some scepticism as to whether we should ascribe the status of a ‘discipline’ to it or even whether it matters whether we do so or not. 5 Within the social sciences, economics could be described as a discipline, and so might psychology. Being disciplinary is not necessarily a good thing however. For example, it is highly questionable as to whether political science is a discipline, or whether it should be. The argument here, anyway, is not that modern

in The structure of modern cultural theory
Economy, exchange and cultural theory
Simon Wortham

the field of cultural inquiry, Greenblatt remarks that ‘the oscillation between totalisation and difference, uniformity and … diversity … unitary truth and a proliferation of distinct entities’ found in the differing views of late capitalism held by Lyotard and Jameson ‘depends less upon poststructuralist theory’ than upon the ‘poetics’ – the ‘everyday

in Rethinking the university
The Australian Aborigines and the question of difference
Judith Wilson

, most of them English, it is difficult to make a case for a perspective on the Aborigines that was distinctly German and different. What links their texts is rather a tradition of cultural inquiry that grew out of the interchange between travel literature and anthropology and to which they contributed as Germans. It enabled them not only to engage seriously with the question of unity and the challenges posed by cultural difference but also to step outside their

in Savage worlds
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Robert M. Hendershot and Steve Marsh

resilience of the special relationship. Turning to our chapters, the analysis of literature has long been an intricate and rewarding field of cultural inquiry, as words can serve to mirror realities as well as alter them, and so we found it only natural to open with two chapters addressing literary influences on Anglo-American relations. Analyzing P. G. Wodehouse’s early twentieth-century fiction, in Chapter 1 Finn Pollard charts the evolution of the famous British author’s portrayals of the United States and its people from his initial use of common archetypes to much

in Culture matters
Dave Boothroyd

once… This experience (one to which artists and thinkers occasionally devote themselves, but which is by no means the unique privilege of those who claim or to whom we grant such status), this experience may be sought with or without ‘drugs’, at least without any ‘narcotic’, ‘classified’ as such by the Law. We will always have unclassified or unclassifiable supplements of drugs or narcotics. (Derrida, 1995: 245) Drugs are thus of no special significance (amongst the set of all possible themes of cultural inquiry) to deconstruction, but deconstruction can assist in the

in Culture on drugs
Anna Green and Kathleen Troup

from Signs to Practices in Cultural Inquiry’, History and Theory 39 (2000), pp. 289–310, p. 290, p. 293, italics in original. See also Victoria E. Bonnell and Lynn Hunt (eds), Beyond the Cultural Turn (Berkeley, 1999). 34 Alun Munslow, Deconstructing History (2nd edn, London, 2006), p. 177. See also discussion of deconstruction (and associated theoretical articles) in Keith Jenkins and Alun Munslow (eds), The Nature of History Reader (London, 2004), pp. 12–15. Elizabeth Deeds Ermarth engaged with the problem of temporality to which Munslow alluded in her

in The houses of history