Article by Myers annotated separately.

This book provides traffic safety researchers and practitioners with an international and multi-disciplinary compendium of theoretical and methodological concepts relevant to the research and application of Traffic Safety Culture aiming towards a vision of zero traffic fatalities.

Fresh takes on key questions in black performance and black popular culture, by leading artists, academics, and critics

Traffic: Media as Infrastructures and Cultural Practices presents a collection of texts by distinguished international media and cultural scholars that addresses fundamental relationships between the logistic, symbolic, and infrastructural dimensions of media. The volume discusses the role of traffic and infrastructures within the history of media theory as well as in a broader cultural context: Traffic is shown to constitute an important epistemological and technical principle, a paradigm for exchanges and circulations between discoursive and non-discoursive cultural practices. This opens an encompassing perspective of media ecology, and at the same time illuminates the formative power of traffic as structuring time and space: material and informational traffic creates, maintains, and undermines power, configures meaning, and facilitates appropriation and resistance.

DIVThe history of the Australian Aboriginal painting movement from its local origins to its career in the international art market./div

In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the ancillary markets of television, videotape, DVD, and pay-per-view, have cultivated an understanding of their commodities as mutating global products. Consequently, the cultural practice of moviegoing has changed significantly, as has the place of the cinema in relation to other sites of leisure. Integrating film and cultural theory with close analysis of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. In particular, he dissects a key development: the rise of the megaplex, characterized by large auditoriums, plentiful screens, and consumer activities other than film viewing. He traces its genesis from the re-entry of studios into the movie exhibition business in 1986 through 1998, when reports of the economic destabilization of exhibition began to surface, just as the rise of so-called e-cinema signaled another wave of change. Documenting the current tendency toward an accelerated cinema culture, one that appears to arrive simultaneously for everyone, everywhere, Screen Traffic unearths and critiques the corporate and cultural forces contributing to the “felt internationalism” of our global era.

This remarkable collection investigates the relations between literature and the economy in the context of the unprecedented expansion of early modern England’s long distance trade. Studying a range of genres and writers, both familiar and lesser known, the essays offer a new history of globalization as a complex of unevenly developing cultural, discursive, and economic phenomena. While focusing on how long distance trade contributed to England’s economic growth and cultural transformation, the collection taps into scholarly interest in race, gender, travel and exploration, domesticity, mapping, the state and emergent nationalism, and proto-colonialism in the early modern period.