How the urban spectator became the archetypal modern viewer and a central subject in late nineteenth-century French art Gawkers explores how artists and writers in late nineteenth-century Paris represented the seductions, horrors, and banalities of street life through the eyes of curious viewers known as badauds. In contrast to the singular and aloof bourgeois flâneur, badauds were passive, collective, instinctive, and highly impressionable. Above all, they were visual, captivated by the sights of everyday life. Beautifully illustrated and drawing on a wealth of new research, Gawkers excavates badauds as a subject of deep significance in late nineteenth-century French culture, as a motif in works of art, and as a conflicted model of the modern viewer. Bridget Alsdorf examines the work of painters, printmakers, and filmmakers who made badauds their artistic subject, including Félix Vallotton, Pierre Bonnard, Henri de Toulouse-Lautrec, Honoré Daumier, Edgar Degas, Jean-Léon Gérôme, Eugène Carrière, Charles Angrand, and Auguste and Louise Lumière. From morally and intellectually empty to sensitive, empathetic, and humane, the gawkers these artists portrayed cut across social categories. They invite the viewer’s identification, even as they appear to threaten social responsibility and the integrity of art. Delving into the ubiquity of a figure that has largely eluded attention, idling on the margins of culture and current events, Gawkers traces the emergence of social and aesthetic problems that are still with us today.

An NPR Book Concierge Best Book of 2018! A stunning story about how power works in the modern age--the book the New York Times called "one helluva page-turner" and The Sunday Times of London celebrated as "riveting...an astonishing modern media conspiracy that is a fantastic read." Pick up the book everyone is talking about. In 2007, a short blogpost on Valleywag, the Silicon Valley-vertical of Gawker Media, outed PayPal founder and billionaire investor Peter Thiel as gay. Thiel's sexuality had been known to close friends and family, but he didn't consider himself a public figure, and believed the information was private. This post would be the casus belli for a meticulously plotted conspiracy that would end nearly a decade later with a $140 million dollar judgment against Gawker, its bankruptcy and with Nick Denton, Gawker's CEO and founder, out of a job. Only later would the world learn that Gawker's demise was not incidental--it had been masterminded by Thiel. For years, Thiel had searched endlessly for a solution to what he'd come to call the "Gawker Problem." When an unmarked envelope delivered an illegally recorded sex tape of Hogan with his best friend's wife, Gawker had seen the chance for millions of pageviews and to say the things that others were afraid to say. Thiel saw their publication of the tape as the opportunity he was looking for. He would come to pit Hogan against Gawker in a multi-year proxy war through the Florida legal system, while Gawker remained confidently convinced they would prevail as they had over so many other lawsuit--until it was too late. The verdict would stun the world and so would Peter's ultimate unmasking as the man who had set it all in motion. Why had he done this? How had no one discovered it? What would this mean--for the First Amendment? For privacy? For culture? In Holiday's masterful telling of this nearly unbelievable conspiracy, informed by interviews with all the key players, this case transcends the narrative of how one billionaire took down a media empire or the current state of the free press. It's a study in power, strategy, and one of the most wildly ambitious--and successful--secret plots in recent memory. Some will cheer Gawker's destruction and others will lament it, but after reading these pages--and seeing the access the author was given--no one will deny that there is something ruthless and brilliant about Peter Thiel's shocking attempt to shake up the world.

Canadian news reports are riddled with accounts of Access to Information requests denied and government reports released with large swaths of content redacted. The Unfulfilled Promise of Press Freedom in Canada offers a vast array of viewpoints that critically analyze the application and interpretation of press freedom under the Charter of Rights. This collection, assiduously put together by editors Lisa Taylor and Cara-Marie O'Hagan, showcases the insights of leading authorities in law, journalism, and academia as well as broadcasters and public servants. The contributors explore the ways in which press freedom has been constrained by outside forces, like governmental interference, threats of libel suits, and financial constraints. These intersectional and multifaceted lines of inquiry provide the reader with a 360-degree assessment of press freedom in Canada while discouraging complacency among Canadian citizens. After all, an informed citizenry is a free citizenry.

In 2048, while visiting Pastworld, a Victorian London theme park, teenaged Caleb meets seventeen-year-old Eve, a Pastworld inhabitant who has no knowledge of the modern world, and both become pawns in a murderer's diabolical plan that reveals disturbing truths about the teenagers' origins.

Compiling a portrait that's both fascinating and deliciously fun, Gastropolis explores the endlessly evolving relationship between New Yorkers and food.

The book is an anthropological study of a phenomenon observed within the range of contemporary Polish Catholic religiosity. The Crucified focuses on two fundamental issues: passion plays and performance theory. It presents an analysis of material collected during five years of field research, which sheds light on the varied world of religious performances. The phenomenon of passion plays is extremely complex and to some extent heterogeneous, hence its in-depth analysis reveals much not only about its own nature, but also about the entire modern religiosity. As a result, the book is constructed in such a way as to focus on a single phenomenon, but with conclusions extending to a much wider range of contemporary religious practices. The book reveals the need for self-expression of one’s own attitudes observable in contemporary spirituality, as well as the increasing participation of believers in the development of their religious life and thus in the formation of their own religious identity. All these processes are interpreted in terms of performance theory. Applying this approach makes it possible to capture the believers’ need for activity and creativity in the field of practices alternative to the liturgy.

Focusing on the precursors and contexts of ethnographic film, this text depicts the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures.