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This chapter argues that media education after the-media would be formed out of a flattened cultural hierarchy combined with a relativist pedagogy. This would arise out of the death of Media Studies as we know it but also the death of English, Art, Drama and all other 'subjects of text'. These will be replaced with a more reflexive pedagogy of the texture of mediated life. Doing Text means one removes 'the-media' from their field of reference and work instead on the-mediated storytelling of the self and their students' performative textual interactions across spaces and places. This volume provides teachers of Media, English, and other textual curricular with a set of interdisciplinary learning and teaching strategies for what might be called 'new pedagogies'.

This chapter studies the act of performing text. The concept of Performance is a core element of a number of different subjects including Media Studies, Drama, and English Literature. The chapter takes aspects of these varying but intrinsically linked subjects into this hypothetical post-Media Studies learning environment and explains how the author would teach this concept as a contemporary understanding, utilising approaches from each subject. This will be pedagogically similar to the recently introduced Teaching by Phenomena method in Finland where instead of focusing on particular subjects, learning is developed through certain topics and concepts, with Geography, History, Economics, and Foreign Languages being covered in the study of the European Union. Media Studies is regarded as a populist subject as the students tend to find it accessible due to having some familiarity of the texts they study; this is an opportunity to develop a course of learning for the students rather than the teachers.

This chapter will offer a critical introduction to the key issues, debates and ideas within memory studies research. It is not always clear from existing literature how and why memory studies (ranging from the sociological to the cognitive science approaches) should synthesise with media studies. The connections will be made explicit in this chapter. Drawing together foundational theories of memory from for example Halbwachs (1980), Nora (1989), Lowenthal (1996), Olick (1999), Bergson (2004), Ricoeur (2006) and Connerton (2008), the chapter will consider such theorisations of history, remembering, forgetting, amnesia, flashback, archive and nostalgia with a view to making very clear the connections and disconnections between these lines of thoughts and media studies.

This chapter introduces the social, historical, and political elements of 1980s immigration debates in both policy-making and popular culture. Drawing on scholarship in American Studies, Gender and Sexuality Studies, Race and Ethnic Studies, Critical Legal Studies, and Media Studies, it outlines the two central tropes in 1980s immigration debates that culminated with the passing of the Immigration Reform and Control Act of 1986, the “nation of immigrants” and “immigration emergency” tropes. It argues that in response to the civil rights and second-wave feminist movements, gendered Reagan-era discourse about Latin American, Asian, and white ethnic immigration was a crucial ingredient in the forming of the neoliberal idea of democracy. The history of immigration and popular culture is outlined, as is the book’s methodology, which blends feminist media studies with critical legal analysis to dialectally examine significant moments in immigration policymaking and contemporary popular culture.

The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art world’ emphasizes that the distinctions between art and non-art are constructed by diverse agents and institutions. Moreover the term ‘borderlands’ is used to defy the idea that there is a definite demarcation or border between what is ‘inside’ and ‘outside’ of the art world. The term image ecology serves as a metaphor for a desire to understand the interrelationships of things such as the nature of change, adaption and community and as a way to locate how and why images operate in certain ‘environments’ or systems of meaning. Finally the introduction posits the book in the long tradition of image studies and also in recent development within media studies, particularly studies on mediatization and media archaeology.

The introduction presents the subject of the monograph: the use of moving images in the exhibition design of museums. The focus is on different kinds of institutions, chiefly art, history, science and ethnographic museums in Europe and the US. Within these settings, films and audio-visuals are not displayed as works of art, but rather as tools for contextualization, explanation or visitor engagement. However, their role is far from being merely instrumental, and they deeply affect the exhibition strategies of museums. Furthermore, the introduction provides the theoretical framework of the monograph and illustrates the methodology. In order to investigate the display of moving images in museums, the book adopts a strongly interdisciplinary approach that combines theoretical and methodological tools drawn primarily from museum, film, and media studies. Following museum studies, it pays attention not only to the way in which exhibition design can influence the meaning of the exhibits, but also to the type of relationship that the visitor establishes with the contents proposed by the institution. On the other hand, film and media studies offer methodological instruments to investigate the dissemination of moving images outside the movie theatres, both in the past and in the present.

This introduction offers an overview of relevant literature, a brief trajectory of the history of pornography before the video era, and an analysis of why the topic has not received much attention. Additionally, it offers one of the central arguments in the book, that the industry’s quest for respectability by foregrounding quality (both aesthetically and narratively) had critical ramifications in terms of gender and sexuality—particularly for women—that have been previously overlooked.

In this prologue, I describe my own background in relation to this topic, particularly important given my religious family upbringing describe the book’s guiding questions, and set the stage for the rest of the book.

This chapter theorizes an afterlife of Imperial Japan's biological metaphors of lifeworld and circulation in the work of Japanese architect Tange Kenzō and his associates who came to form the internationally renowned movement of Metabolism in the early 1960s. Transposing these imperial metaphors onto postwar Japan's national body politic, Tange and other Metabolist architects frequently used the biological metaphors of blood circulation and the central nervous system to articulate their vision of urban planning. Focusing on the impact of electronic communication technologies on architecture, this chapter will explore how the modern biopolitical idea of maintaining the organic life of the nation persisted into the postwar period, and how this perspective on biopolitics in turn compels us to rethink certain assumptions we make about electronic media and information technologies.

The final chapter examines traditional forms of regulation, focusing on the community protests, anti-pornography feminist movements, national efforts by conservative groups, and other attempts to contain the efforts by the adult video industry to find widespread public acceptance and economic success. I argue that a panic, traceable to the move of sexually explicit films from public to private spaces, resulted in a major shift in the cultural understanding of sexuality, pleasure, and pornography. Part of this panic is visible in the Meese Commission’s investigation in 1986, which aligns with the period in which the adult film industry completed the transition from celluloid to magnetic tape-based production and distribution. I conclude the book with an analysis of the mainstream video rental’s decision to stop carrying adult video in the wake of the Meese Commission and gesture toward the further regulatory actions of the 1990s.

This chapter discusses the act of reading text. In a valid and logical response to the cultural and institutional changes taking place, Media Studies started to look at the rise of e-media and its impact on the construction and consumption of media products. Always looking to be a contemporary subject, this refocus allowed teachers and students an opportunity to engage with the new institutional structures and audience behaviours. The subject changed its terminology and no longer focused on 'texts' but on 'media products'. This shift in the discourse identified that the act of 'reading' the-media had become a secondary consideration. This move away from what was seen as an 'old fashioned' textual focus has meant that students are often having to deal with complex ideas about how the-media works without first developing a confident analytical skills-base. The chapter then looks at the act of reading television, literary texts, 'high art' on TV, and games and beyond. Providing different reading experiences for students is the first step to helping them develop an appreciation for the complex art of reading.

The author presents his argument in the Introduction, that talk radio has continued to maintain its prominence and distinctive significance over the past fifteen years in Hong Kong largely due to the changing social and political context of the city, which has led to the formation of a specific type of congenial and cooperative relationship between talk radio and the mainstream press. Remediation by the mainstream media occurs mainly through thematic representation and content adaptation, and different mainstream media outlets remediate talk radio in both different and similar ways. Remediation also influences how ordinary citizens evaluate and perceive the social roles and functions of talk radio.

Chapter 10 discusses the theoretical implications of the book on the analysis of media interconnectedness and remediation, and the implications of the findings in relation to the broader problematic of the communication of public opinion in Hong Kong. It also comments on the most recent and possible future development of talk radio in the city.

Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or Hollywood Reporter. In its attempts to provide a more sophisticated, nuanced, and professional set of discourses for adult video, AVN represents a major turning point in this history, focusing on the industry as an industry, rather than merely as content made by unseen, hidden forces. Additionally, AVN repeatedly emphasized and encouraged the creation of quality material as a strategy to gain the respectability that would lead to greater acceptability and profits, a stance it also replicated within its own pages and editorial practices. Ultimately, AVN crafted something new: a space in which to promote, sell, and celebrate adult video.