Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- List of Table -- Foreword: Earth to Transmedia -- Acknowledgements -- Introduction: Conceptualizing National and Cultural Transmediality -- PART I: European Transmediality -- 1 United Kingdom: The Justified Ancients of Mu Mu's 'Comeback' as a Transmedia Undertaking -- 2 Spain: Emergences, Strategies and Limitations of Spanish Transmedia Productions -- 3 Portugal: Transmedia Brand Narratives, Cultural Intermediaries and Port Wine -- 4 France: Telling Tales of Cultural Heritage using Transmedia Storytelling -- 5 Estonia: Transmedial Disruptions and Converging Conceptualizations in a Small Country -- PART II: North and South American Transmediality -- 6 United States: Trans-Worldbuilding in the Stephen King Multiverse -- 7 Canada: Transmediality as News Media and Religious Radicalization -- 8 Colombia: Transmedia Projects in Contexts of Armed Conflict and Political Change -- 9 Brazil: Reconfigurations and Spectatorship in Brazilian Telenovelas -- PART III: Asian Transmediality -- 10 Japan: Fictionality, Transmedia National Branding and the Tokyo 2020 Olympic Games -- 11 India: Augmented Reality, Transmedia Reality and Priya's Shakti -- 12 Russia: Interactive Documentary, Slow Journalism and the Transmediality of Grozny: Nine Cities -- List of Contributors -- Index

“What the future fortunes of [Gramsci’s] writings will be, we cannot know. However, his permanence is already sufficiently sure, and justifies the historical study of his international reception. The present collection of studies is an indispensable foundation for this.” —Eric Hobsbawm, from the preface Antonio Gramsci is a giant of Marxian thought and one of the world's greatest cultural critics. Antonio A. Santucci is perhaps the world's preeminent Gramsci scholar. Monthly Review Press is proud to publish, for the first time in English, Santucci’s masterful intellectual biography of the great Sardinian scholar and revolutionary. Gramscian terms such as “civil society” and “hegemony” are much used in everyday political discourse. Santucci warns us, however, that these words have been appropriated by both radicals and conservatives for contemporary and often self-serving ends that often have nothing to do with Gramsci’s purposes in developing them. Rather what we must do, and what Santucci illustrates time and again in his dissection of Gramsci’s writings, is absorb Gramsci’s methods. These can be summed up as the suspicion of “grand explanatory schemes,” the unity of theory and practice, and a focus on the details of everyday life. With respect to the last of these, Joseph Buttigieg says in his Nota: “Gramsci did not set out to explain historical reality armed with some full-fledged concept, such as hegemony; rather, he examined the minutiae of concrete social, economic, cultural, and political relations as they are lived in by individuals in their specific historical circumstances and, gradually, he acquired an increasingly complex understanding of how hegemony operates in many diverse ways and under many aspects within the capillaries of society.” The rigor of Santucci’s examination of Gramsci’s life and work matches that of the seminal thought of the master himself. Readers will be enlightened and inspired by every page.

"This book aims to engage the complex relationship between technology, culture, and socio-economic elements by exploring it in a transnational, yet contextually grounded, framework, exploring diverse perspectives and approaches, from political economy to cultural studies, and from policy studies to ethnography"--Provided by publisher.

Today’s convergent media industries readily produce stories that span multiple media, telling the tales of superheroes across comics, film and television, inviting audiences to participate in the popular universes across cinema, novels, the Web, and more. This transmedia phenomenon may be a common strategy in Hollywood’s blockbuster fiction factory, tied up with digital marketing and fictional world-building, but transmediality is so much more than global movie franchises. Different cultures around the world are now making new and often far less commercial uses of transmediality, applying this phenomenon to the needs and structures of a nation and re-thinking it in the form of cultural, political and heritage projects. This book offers an exploration of these national and cultural systems of transmediality around the world, showing how national cultures – including politics, people, heritage, traditions, leisure and so on – are informing transmediality in different countries. The book spans four continents and twelve countries, looking across the UK, Spain, Portugal, France, Estonia, USA, Canada, Colombia, Brazil, Japan, India, and Russia.

Art is a multi-faceted part of human society, and often is used for more than purely aesthetic purposes. When used as a narrative on modern society, art can actively engage citizens in cultural and pedagogical discussions. Convergence of Contemporary Art, Visual Culture, and Global Civic Engagement is a pivotal reference source for the latest scholarly material on the relationship between popular media, art, and visual culture, analyzing how this intersection promotes global pedagogy and learning. Highlighting relevant perspectives from both international and community levels, this book is ideally designed for professionals, upper-level students, researchers, and academics interested in the role of art in global learning.

This edited book focuses on the dynamic balance between global cultural diversity and multilateral convergence in relevant policy areas that involve actual and potential policy convergences (and divergences): the environment, trade, peace and security, and human rights. It offers theoretical reflections about the impact of the concept of multiple modernities on new ideas, cultural backgrounds, and/or national or regional particularities. An interdisciplinary team of authors combines comparative policy analysis with theoretical dialogue about the conceptual, institutional, normative, and political dimensions of a new kind of multilateral cooperation. Finally, the book concludes that by stimulating an intercultural dialogue which goes beyond a mere "rational choice" approach, we can foster progress through a better understanding of the opportunities and limitations offered by a pluralist, varied, post-hegemonic, and multilayered form of multilateral cooperation. This book will be of key interest to scholars and students of European/EU studies, economics, human rights, climate change, history, cultural studies, international relations, international political economy, security studies, and international law.

A critical cultural materialist introduction to the study of global entertainment media. In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies. Among other topics, Mirrlees examines: Paradigms of global entertainment media such as cultural imperialism and cultural globalization. The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media. The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow. The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions. The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media. The cross-cultural reception and effects of TV shows and films. The World Wide Web, digitization and convergence culture.