Hineston Louisiana was a small pioneer community between Alexandrea and Leesville. Mr. Hines established the first store there in about 1810. Located on the border of the infamous Buffer Strip its tough settlers are profiled through the exciting tales of the Hineston Fight, the Westport Fight, and the Rawhide Fight.

This new study from Ben Highmore looks at the seemingly banal world of objects, work, daily media, and food, and finds there a scintillating array of passionate experience. Through a series of case studies, and building on his previous work on the everyday, Highmore examines our relationship to familiar objects (a favourite chair), repetitive work (housework, typing), media (distracted television viewing and radio listening) and food (specifically the food of multicultural Britain). A chair allows him to consider the history of flat-pack furniture as well as the lively presence of inorganic ‘stuff’ in our daily lives. Distracted television watching and radio listening becomes one of the preconditions for experiencing wonder through the media. Ordinary Lives links the concrete study of routine existence to theoretical reflection on everyday life. The book discusses philosophers such as Jacques Rancière, William James and David Hume and combines them with autobiographical testimonies, historical research and the analysis of popular culture to investigate the minutiae of day-to-day life. Highmore argues that aesthetic experience is embedded in the mundane sensory world of everyday life. He asks the reader to reconsider the negative associations of habit and routine, focusing specifically on the intrinsic ambiguity of habit (habit, we find out, is both rigid and adaptive). Rather than ask ‘what does everyday life mean?’ this book asks ‘what does everyday life feel like and how do our sensual, emotional and temporal experiences interconnect and intersect?’ Ordinary Lives is an accessible, animated and engaging book that is ideally suited to both students and researchers working in cultural studies, media and communication and sociology.

Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies' projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world's most profitable transmedia franchise.