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Media Distortions is about the power behind the production of deviant media categories. It shows　the politics behind categories we take for granted such as spam and noise, and what it means to our broader understanding of, and engagement with media. The book synthesizes media theory, sound studies, science and technology studies (STS), feminist technoscience, and software studies into a new composition to explore media power. Media Distortions argues that using sound as a conceptual framework is more useful due to its ability to cross boundaries and strategically move between multiple spaces—which is essential for multi-layered mediated spaces. Drawing on repositories of legal, technical and archival sources, the book amplifies three stories about the construction and negotiation of the ‘deviant’ in media. The book starts in the early 20th century with Bell Telephone’s production of noise, tuning into the training of their telephone operators and their involvement with the Noise Abatement　Commission in New York City. The next story jumps several decades to the early 2000s focusing on web metric standardization in the European Union and shows how the digital advertising industry constructed web-cookies as legitimate communication while making spam illegal. The final story focuses on the recent decade and the way Facebook filters out antisocial behaviors to engineer a sociality that produces more value. These stories show how deviant categories re-draw boundaries between human and non-human, public and private spaces, and importantly, social and antisocial.

Media studies

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For the last fifty years, discussion of 1950s science fiction cinema has been dominated by the view that the genre reflected US paranoia about Soviet brainwashing and the nuclear bomb. However, classic films, such as Invasion of the Body Snatchers (1956) and It Came from Outer Space (1953), were regularly exported to countries across the world. The histories of their encounters with foreign audiences have not yet been told. Science Fiction Cinema and 1950s Britain begins this task by recounting the story of 1950s British cinema-goers and the aliens and monsters they watched on the silver screen. Drawing on extensive archival research, Matthew Jones makes an exciting and important intervention in the field by locating 1950s American science fiction films alongside their domestic counterparts in their British contexts of release and reception.

Media & Communications --- Media Studies

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Independent Filmmaking across Borders in Contemporary Asia examines an array of auteur-driven fiction and documentary independent film projects that have emerged since the turn of the millennium from East and Southeast Asia, a strand of transnational filmmaking that converges with Asia’s vibrant yet unevenly developed independent film movements amidst global neoliberalism. These projects bear witness to and are shaped by the ongoing historical processes of inter-Asia interaction characterized by geopolitical realignment, migration, and population displacement. This study threads together case studies of internationally acclaimed filmmakers, artists, and collectives such as Zhang Lu, Kuzoku, Li Ying, Takamine Go, Yamashiro Chikako, and Midi Z, all of whose transborder journeys and cinematic imaginations disrupt static identity affiliations built upon national, ethnic, or cultural differences. This border-crossing filmmaking can be viewed as both an aesthetic practice and a political act, reframing how people, places, and their interconnections can be perceived — thereby opening up possibilities to reimagine Asia and its connections to globalization.

Films --- media studies --- Asia

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In 1999 David Elstein delivered a lecture series examining the evolvement of UK Broadcasting policy from 1949 to 1999. His sharp analysis is a valuable contribution to the post-war development of the British broadcasting system and unfolds many topical issues in current media policy debates.

Broadcasting --- History --- Media Studies --- Politics

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Dutch scholarship has played an important role in philology since the early days of Leiden University. This volume illuminates how philology and its focus on the critical examination of classical texts—a tradition that had previously exerted considerable influence across fields as diverse as theology, astronomy, law, and politics—began an accelerated process of specialization in the 1800s. As former subareas like linguistics and history branched off into independent fields with their own methodologies, philology found its authority narrowing in scope within newly defined boundaries. Providing a fresh perspective on the evolution of Dutch philology as a discipline in the humanities, this is a fascinating look at a historically vital field of thought.

Society & culture: general --- Media studies