Media narratives are the “reflection” of current beliefs and ideas. The case studies in this volume represent an exceptional field of research on dominant mythologies; examples from several countries reveal that media narratives express a dominant consumer storytelling.

This book presents an original and engaging look at contemporary popular culture, opening with the provocative idea that this is a day and age of complete exhaustion of ideas, images, stories, and myths. Questioning the effects of content recycling in cinema and other media, the author further elaborates on the repurposing of cultural junk, the reassembling of narratives and myths. The thought-provoking hypothesis proposed in this research is that we have entered an age of cultural promiscuity. By analyzing the mutations of myth-making practices and connecting them with larger cultural manifestations, the author explains these transformations as integral to the development of a myth-illogical imagination. Cinematic and mythological representations in mainstream Hollywood films have reached a point of amalgamation with no return, which marks the beginning of a "fourth age of representations," where signs and meanings are manifested in illogical permutations. This is more explicit in films that commingle aliens, cowboys, undead American presidents, and zombie nazis, joining together in the same narrative ghosts, werewolves, and vampires, aggregating disjoined storylines and historical fake facts, all coalesced in an orgy of empty burlesque and infantile masquerades. This interdisciplinary research combines cultural studies, film criticism, art and myth interpretations, bringing into the debate multiple concepts from related fields such as critical theory and media criticism. The book also opens up to innovative approaches from a wide array of academic disciplines, offering researchers, students and those fascinated by the transformations happening in contemporary cinema an interpretative tool based on a revised dialectic approach. The conclusion is that we are now victims of a zombie semiotics. Meaning-making in contemporary culture, politics, and aesthetics is dominated by a process of incessant desecration of significations, specific to the total mishmash of representations analyzed here.

How social media has become a critical tool for advancing the interests of the Canadian oil industry Petroturfing presents an incisive look into how Canada’s pro-oil movement has leveraged social media to rebrand the extractive economy as a positive force. Adapting its title from the concept of astroturfing, which refers to the practice of disguising political and corporate media campaigns as grassroots movements, the book exposes the consequences of this mutually informed relationship between social media and environmental politics. Since the early 2010s, an increasingly influential network of pro-oil groups, organizations, and campaigns has harnessed social media strategies originally developed by independent environmental organizations in order to undermine resistance to the fossil fuel industry. Situating these actions within the broader oil culture wars that have developed as an outgrowth of contemporary right-wing media, Petroturfing details how this coalition of groups is working to reform the public view of oil extraction as something socially, economically, and ecologically beneficial. By uncovering these concerted efforts to influence the “energy consciousness,” Jordan B. Kinder reveals the deep divide between Canada’s environmentally progressive reputation and the economic interests of its layers of government and private companies operating within its borders. Drawing attention to the structures underlying online political expression, Petroturfing highlights the limitations of social media networks in the work of promoting environmental justice and contributing to a more equitable future.

'South Asian Media Cultures' examines a wide range of media cultures and practices from across South Asia, using a common set of historical, political and theoretical engagements. In the context of such pressing issues as peace, conflict, democracy, politics, religion, class, ethnicity and gender, these essays explore the ways different groups of South Asians produce, understand and critique the media available to them.

CTE, Media, and the NFL: Framing a Public Health Crisis as a Football Epidemic examines the central role of mediain constructing an entangled relationship between chronic traumatic encephalopathy (CTE) and the National Football League (NFL), challenging a predominately symbiotic sports/media complex. The authors of this book analyze more than a decade of media coverage, along with three prominent films, to unpack how media discourse resurrects CTE, a preventable degenerative brain disease linked to boxing in 1928, and subsequently frames it as a football epidemic dating back to 2005. The authors position CTE as a public health crisis, whereby media coverage of CTE and the NFL’s vigorous reliance on controversial published research by the Mild Traumatic Brain Injury (MTBI) Committee parallels the moral panic of the HIV/AIDS epidemic and Big Tobacco’s manufacturing of doubt through faulty science. This book argues that the continued aspiration and idolization of the NFL, and its lack of accountability for health concerns surrounding brain injuries, highlight the firm grasp of hegemonic masculinity on the ideology of American football - further problematizing media’s glorification of the sport. Scholars of sports media, health communication, and general media studies will find this book particularly useful to discuss longitudinal effects of media framing centered on critical health risks in sport and the challenge of translating accurate scientific knowledge to the public domain.

Since the earliest days of the movie industry, Hollywood has mythologized itself through stories of stardom. A female protagonist escapes the confines of rural America in search of freedom in a western dream factory; an ambitious, conceited movie idol falls from grace and discovers what it means to embody true stardom; or a fading star confronts Hollywood’s obsession with youth by embarking on a determined mission to reclaim her lost fame. In its various forms, the stardom film is crucial to understanding how Hollywood has shaped its own identity, as well as its claim on America’s collective imagination. In the first book to focus exclusively on these modern fairy tales, Karen McNally traces the history of this genre from silent cinema to contemporary film and television to show its significance to both Hollywood and broader American culture. Drawing on extensive archival research, she provides close readings of a wide range of films, from Souls for Sale (1923) to A Star is Born (1937 and 1954) and Judy (2019), moving between fictional narratives, biopics, and those that occupy a space in between. McNally considers the genre’s core set of tropes, its construction of stardom around idealized white femininity, and its reflections on the blurred boundaries between myth, image, and reality. The Stardom Film offers an original understanding of one of Hollywood’s most enduring genres and why the allure of fame continues to fascinate us.

Mythology for centuries has served as humanity's window into understanding its distant past. In our modern world, storytelling creates its own myths and legends, in media ranging from the world of television and cinema to literature and comic books, that help us make sense of the world we live in today. What is the "Mytharc"? How did it arise? How does it inform modern long-form storytelling? How does the classical hero's journey intersect with modern myths and narratives? And where might the storytelling of tomorrow take readers and viewers as we imagine our future? From The X-Files to H.P. Lovecraft, from Lost to the Marvel cinematic universe and many worlds beyond, this study explores our modern storytelling mythology and where it may lead us.