Ruthless Criticism was first published in 1993. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Ruthless Criticism offers perspectives and subjects largely outside traditional historiography. It broadens the concept of media history to include lesser-studied media, and offers alternative interpretations of traditional media. This anthology of original research includes an array of scholarly and theoretical perspectives. Each addresses specific topic within a specific era. reflecting the diversity of U.S. mass media. Solomon and McChesney begin by using critical theory and deconstruction to examine the meanings of print in the colonial era. Subsequent chapters study the media ecology of the antebellum press; the intense focus on profits of the post-Civil War mainstream press; gender images in the labor press; the diversity of political views within the working-class press; and the development of a commercial press in the black community. The essays concerning the twentieth century focus on the rise of a culture industry and include studies on the origins of the broadcast ratings system and the commercial broadcast system and the commercial broadcast system, early television's portrayals of childhood, the televisions networks' close ties with the federal government, the government's key role in creating and developing the field of mass communication research, and teenage girls' popular culture from 1960–1968 as a formative influence on the feminist movement.

Critical essays from the Left: "it is all the more clear that what we have to accomplish . . . ruthless criticism of all that exists." —Marx, 1843.

For a Ruthless Critique of All that Exists takes as its point of departure two profound and interrelated phenomena. The first is the pervasive sense of what Mark Fisher had called “capitalist realism", in which (to cite the famous expression variously attributed to Fredric Jameson and Slavoj Žižek) it is easier to imagine the end of the world than then end of capitalism. As Jameson in particular has noted, “perhaps this is due to some weakness in our imaginations,” and the attenuation of the imaginative function in cultural criticism has far-reaching implications for the organization and reformation of institutions more generally. This manifests itself as a waning of speculative or theoretical energy, which in turn leads to a general capitulation to the tyranny of “what is,” the actually existing state of affairs, and the preemptive disavowal of alternative possibilities. Connected to this is the second phenomenon: the prevalent tendency in literary and cultural criticism over the past 30 or more years to eschew critical theory and even critique itself, while championing approaches to cultural study that emphasize surface reading, thin description, ordinary language philosophy, object-oriented ontology, and post-critique. Together these forms of anticritical and antitheoretical criticism have constituted a tendency that has in its various incarnations come to dominate the humanities and other areas of higher education in recent years. The latter has served to reinforce the former, and the result has been to align literary and cultural criticism with the broad-based forces of neoliberalism whose influence has so deleteriously transformed not only higher education but the whole of society at large. Robert T. Tally Jr. argues that, in order to counter these trends and empower the imagination, the time is ripe for “a ruthless critique of all that exists,” to borrow a phrase from the young Marx. This book is intended as a provocation, at once a polemic and a call to action for cultural critics.

Jessica Hopper's music criticism has earned her a reputation as a firebrand, a keen observer and fearless critic not just of music but the culture around it. With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.

How Marcuse helps us understand the ecological crisis of the 21st century For several years after 1968, Herbert Marcuse was one of the most famous philosophers in the world. He became the face of Frankfurt School Critical Theory for a generation in turmoil. His fame rested on two remarkable books, Eros and Civilization and One-Dimensional Man. These two books represent the utopian hopes and dystopian fears of the time. In the 1960s and 70s, young people seeking a theoretical basis for their revolution found it in his work. Marcuse not only supported their struggles against imperialism and race and gender discrimination, he foresaw the far-reaching implications of the destruction of the natural environment. Marcuse’s Marxism was influenced by Husserl and Heidegger, Hegel and Freud. These eclectic sources grounded an original critique of advanced capitalism focused on the social construction of subjectivity and technology. Marcuse contrasted the “one-dimensionality” of conformist experience with the “new sensibility” of the New Left. The movement challenged a society that “delivered the goods” but devastated the planet with its destructive science and technology. A socialist revolution would fail if it did not transform these instruments into means of liberation, both of nature and human beings. This aspiration is alive today in the radical struggle over climate change. Marcuse offers theoretical resources for understanding that struggle.

With contributions from 30 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies. Chapters address various methods of textual analysis, as well as reception studies, policy, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses emergent technologies and new research tools in such areas as software studies, gaming, and digital humanities. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research. Together, the chapters in this collection give media critics a complete toolbox of essential critical media studies methodologies.

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