Meenakshi Gigi Durham, Douglas Kellner (eds.): Media and Cultural Studies: Keyworks (2006)

“Bringing together a range of core texts into one volume, this acclaimed anthology offers the definitive resource in culture, media, and communication.

* A fully revised new edition of the bestselling anthology in this dynamic and multidisciplinary field.
* New contributions include essays from Althusser through to Henry Jenkins, and a completely new section on Globalization and Social Movements.
* Retains important emphasis on the giant thinkers and “makers” of the field: Gramsci on hegemony; Althusser on ideology; Horkheimer and Adorno on the culture industry; Raymond Williams on Marxist cultural theory; Habermas on the public sphere; McLuhan on media; Chomsky on propaganda; hooks and Mulvey on the subjects of visual pleasure and oppositional gazes.
* Features a substantial critical introduction, short section introductions and full bibliographic citations.”

Keywords and phrases
postmodern, mass media, cultural studies, Star Wars, culture industry, feminism, Marxist, Frankfurt school, third world, hyperreal, Stuart Hall, hegemony, cultural imperialism, deterritorialization, labour power, Ideological State Apparatuses, simulacrum, television, media imperialism

Publisher Wiley-Blackwell, 2006
ISBN 1405132582, 9781405132589
755 pages

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Rosalind Gill: Technobohemians or the new Cybertariat? New media work in Amsterdam a decade after the web (2007)

Accounts of new media working conditions draw heavily on two polarised stereotypes, veering from techno-utopianism on the one hand, to a vision of webworkers as the new ‘precariat’, victims of neo-liberal economic policies on the other. Heralded from both perspectives as representing the brave new world of work, what is striking is the absence of research on new media workers’ own experiences, particularly in a European context. This INC commissioned research goes beyond contemporary myths to explore how people working in the field experience the pleasures, pressures and challenges of working on the web. Illustrated throughout with quotations from interviews, it examines the different career paths emerging for content-producers in web-based industries, questions the relevance of existing education and training, and highlights the different ways in which people manage and negotiate freelancing, job insecurity, and keeping up to date in a fast-moving field where both software and expectations change rapidly.

The research is based on 35 interviews carried out in Amsterdam in 2005, and contextually draws upon a further 60 interviews with web designers in London and Brighton. The interviews were conducted by Danielle van Diemen and Rosalind Gill.

Interviews: Rosalind Gill and Danielle van Diemen. Copy editing: Ned Rossiter. Design: Léon&Loes, Rotterdam. Network Notebooks editors: Geert Lovink and Sabine Niederer. Printing: Cito Repro, Amsterdam. Publisher: Institute of Network Cultures, Amsterdam
Network Notebooks 01, Institute of Network Cultures, Amsterdam, 2007. ISBN: 978-90-78146-02-5.

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Nada Švob-Đokić (ed.): The Emerging Creative Industries in Southeastern Europe (2005)

The book The Emerging Creative Industries in Southeastern Europe is a collection of papers that resulted from the postgraduate course Managing Cultural Transitions: Southeastern Europe – The Impact of Creative Industries, organized by the Department for Culture and Communication of the Institute for International Relations, Zagreb, and held at the Inter-University Centre in Dubrovnik, 8-15 May 2005. The book gathers contributions by 11 authors who analyze creative industries and cultural cooperation in South East Europe, through three chapters: Creative Industries in Southeastern Europe; Cultural Exchange and Cooperation in Southeastern Europe and Cultural Cooperation Contexts.

The creative industries or, rather, culture industries as they appeared in the Southeastern European countries, stem from the tradition of industrial and market-oriented cultural production taken to be low culture or even kitsch cultural production, undermined during the times of socialism. In the transition period these industries became more associated with the ideas of modernization and technological progress, and strongly prompted by imports of cultural consumerism based on pop cultural products. It became clearly visible that small-scale cultural industries and productions might be both economically and culturally reasonable if supported by regionalist ideas and intra-regional cultural cooperation, which might, perhaps, establish links among small and very diverse Southeastern European cultures. However, the influence of large transnational corporations, which are turning the region into a part of the global cultural market, has not yet been undermined.

In The Emerging Creative Industries in Southeastern Europe authors from the region add a new dimension to this discussion and show how the Southeast European transitional societies, at best “mixed societies” undergoing different types of the modernization process, may react to challenges relating to the development of creative industries and creative economies. The authors clearly stress that in spite of numerous commonalities, the differences between countries in the region, and also within them, may still produce very different reactions to the challenge of creative industries and the markets they may be cultivating.

Collection of papers from the course
Managing Cultural Transitions: Southeastern Europe – The Impact of Creative Industries
Inter-University Centre, Dubrovnik, 8 – 15 May 2005
Edited by Nada Švob-Đokić
Culturelink Joint Publications Series No. 8
Institute for International Relations
Zagreb, 2005
ISBN 953-6096-37-4

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