Spectacle 2.0 recasts Debord's theory of spectacle within the frame of 21st century digital capitalism. It offers a reassessment of Debord’s original notion of Spectacle from the late 1960s, of its posterior revisitation in the 1990s, and it presents a reinterpretation of the concept within the scenario of contemporary informational capitalism and more specifically of digital and media labour. It is argued that the Spectacle 2.0 form operates as the interactive network that links through one singular (but contradictory) language and various imaginaries, uniting diverse productive contexts such as logistics, finance, new media and urbanism. Spectacle 2.0 thus colonizes most spheres of social life by processes of commodification, exploitation and reification. Diverse contributors consider the topic within the book’s two main sections: Part I conceptualizes and historicizes the Spectacle in the context of informational capitalism; contributions in Part II offer empirical cases that historicise the Spectacle in relation to the present (and recent past) showing how a Spectacle 2.0 approach can illuminate and deconstruct specific aspects of contemporary social reality. All contributions included in this book rework the category of the Spectacle to present a stimulating compendium of theoretical critical literature in the fields of media and labour studies. In the era of the gig-economy, highly mediated content and President Trump, Debord’s concept is arguably more relevant than ever.

The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.

Pussy grabbing; hot mommas; topless protest; nasty women. Whether hypersexualised, desexualised, venerated or maligned, women’s bodies in public space continue to be framed as a problem. A problem that is discursively ‘solved’ by the continued proliferation of rape culture in everyday life. Indeed, despite the rise in research and public awareness about rape culture and sexism in contemporary debates, gendered violence continues to be normalised. Using case studies from the US and UK – the de/sexualised pregnancy, the troublesome naked protest, the errant BDSM player – Fanghanel interrogates how the female body is figured through, and revolts against, gendered violence. Rape culture currently thrives. This book demonstrates how it happens, the politics that are mobilised to sustain it, and how we might act to contest it.

This collection of essays explores how drama can teach political principles and entertain at the same time. Political commentary is possible through "variety" theatre, this volume contends. Compiled from the April 2000 Theatre Symposium held on the campus of the University of Tennessee-Knoxville, this collection of essays presents a compelling mix of theoretical and practical viewpoints from a broad diversity of scholars from around the country. What remains to be learned about the political objectives of Brecht's Lehrstriucke? What political power is resident in the satirical humor of Dario Fo's drama? What can we learn from Mordecai Gorelik's political/artistic philosophy that might inform contemporary practice? What was the impact of political theatre on Broadway between the wars? Is Thornton Wilder's Our Town the play we've always imagined it to be, or does it challenge the politics of its time? What is the role of theatre activism in raising consciousness about gender politics? These are only some of the questions addressed by this lively, informative discussion.

What is ISIS? A quasi-state? A terrorist group? A movement? An ideology? As ISIS has transformed and mutated, gained and lost territory, horrified the world and been its punch line, media have been central to understanding it. The changing, yet constant, relationship between ISIS and the media, as well as its adversaries’ dependency on media to make sense of ISIS, is central to this book. More than just the images of mutilated bodies that garnered ISIS its initial infamy, the book considers an ISIS media world that includes infographics, administrative reports, and various depictions of a post-racial utopia in which justice is swift and candy is bought and sold with its own currency. The book reveals that the efforts of ISIS and its adversaries to communicate and make sense of this world share modes of visual, aesthetic, and journalistic practice and expression. The short tumultuous history of ISIS does not allow for a single approach to understanding its relation to media. Thus, the book’s contributions are to be read as contrapuntal analyses that productively connect and disconnect, providing a much-needed complex account of the ISIS-media relationship. This book was originally published as a special issue of Critical Studies in Media Communication.

Contributed articles presented at a national seminar on "Women in/and Media" on women in mass media conducted at Osmania University, Hyderabad.