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Consumption (Economics) --- Popular culture. --- Social aspects.

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J.M. Coetzee is the leading English-language novelist today. He is also, in a characteristically low-key, understated way, a cultural heretic. This book presents his work as a complex, nuanced counterblast to contemporary, global, neoliberal economics and its societies. Not surprisingly, given his many years in South Africa and Australia, Coetzee's counterblast comes from a 'global-Southern' perspective. A growing number of often brilliant critiques of neoliberalism have been appearing, and this book coincides with them. But there has so far been comparatively little sustained and incisive critique of neoliberal culture. Drawing on a wealth of literature, philosophy, and theory, the book helps to remedy that lack. On that basis, it reads Coetzee's writings as a discreet, oblique but devastating engagement with neoliberal presumptions. It identifies and focuses on various key features of neoliberal culture: its obsession with self-enrichment, mastery, growth; its belief in plenitude, endless resources; its hubris and obsession with (self)-promotion; its desire for ease and easiness, 'well-being', euphoria; its fetishization of managerial reason and the culture of security; its unrelenting positivity, its belief in illusory goods and unconvincing progressivisms. By contrast, Coetzee's writings explore the virtues of irony and self-reduction. He commits himself to difficulty, discomfort, patient and austere if bleak inquiry, rigorous questioning, and radical doubt. Destitution and failure come to look like a serious, dignified form of life and thought. The very tones of Coetzee's books run counter to those of our neoliberal democracies. They point in a different direction to an insufficient age.

Neoliberalism --- Neoliberalism in literature --- Neoliberalism in popular culture

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"Adaptations in the Franchise Era re-evaluates adaptation's place in a popular culture marked by the movement of content and audiences across more media borders than ever before. While adaptation has historically been understood as the transfer of stories from one medium to another - more often than not, from novel to film - the growing interconnectedness of media and media industries in the early twenty-first century raises new questions about the form and function of adaptation as both a product and a process. Where does adaptation fit within massive franchises that span pages, stages, screens, and theme parks? Rising scholar Kyle Meikle illuminates adaptation's enduring and essential role in the rise of franchises in the 2000s and 2010s. During that decade-and-a-half, adaptations set the foundation for multiplexed, multiplied film series, piloted streaming television's forays into original programming, found their way into audiences' hands in apps and video games, and went live in theatrical experiences on Broadway and beyond. The proliferation of adaptations was matched only by a proliferation of adaptation, as fans remixed and remade their favourite franchises online and off-. This volume considers how producers and consumers defined adaptations - and how adaptations defined themselves - through the endless intertextual play of the franchise era"--Bloomsbury Publishing.

Franchises (Retail trade) --- Mass media. --- Popular culture. --- Technological innovations.

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This South Korean group is at the forefront of the K-Pop wave sweeping the globe With a phenomenal string of No. 1 albums plus hit singles like Dynamite, ON, Black Swan, and Life Goes On, BTS is on an unstoppable path to greatness! BTS: ONE -- is a celebration of the K-Pop groups international chart-topping success as well as the unified community theyve inspired throughout the world. Including nearly 100 full-colour photographs, fans are provided an in-depth look at the lives of RM, J-Hope, Suga, Jimin, V, Jin, and Jungkook. This completely up-to-date volume explores their ever-evolving sound, artistic influences, far-reaching activism, and special relationship with ARMY, whom Jimmy Fallon called "the most loyal, positive, and fun fans that you can ever dream of.

Popular Culture --- East Asia --- Popular Music --- Social Science --- Travel --- Music

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Spätestens seit den frühen Formationen einer auf Notendrucken basierenden Musikindustrie unterhalten musikferne Unternehmen Beziehungen zu Musik und ihren Akteur*innen. Damals wurden vornehmlich Kosmetik und Tabakprodukte in Notenbüchern beworben. Heute jedoch haben sich die Formen, bei denen Musik in den kommerziellen Aktivitäten musikferner Akteur*innen eine Rolle spielt, ausdifferenziert. Gleichzeitig hat der Markt für Aktivitäten wie Sponsoring oder Werbung an Volumen zugenommen. Hierbei spielen Marken eine besondere Rolle. Um Marken aufzubauen publizieren Unternehmen Musikmagazine, vertreiben Tonträger, organisieren und streamen Konzerte oder nehmen gar Künstler*innen mit eigenen Labels unter Vertrag. Gleichzeitig werden auch Künstler*innen und Bands durch die Musikindustrie immer stärker als Marken aufgebaut. Das Jahrbuch der GMM „Musik & Marken“ sondiert die Forschung zu Musik und Marken, versammelt empirische Befunde und zeigt neue Forschungsperspektiven in der Untersuchung von „Musik & Marken“ auf. Die Herausgeber*innen Lorenz Grünewald-Schukalla ist Geschäftsführer der Gesellschaft für Musikwirtschafts- und Musikkulturforschung e.V. und Referent für digitale Technologien und Innovationen beim AWO Bundesverband. Dr. Anita Jóri ist Post-Doc Wissenschaftliche Mitarbeiterin im Vilém Flusser Archiv, Universität der Künste, Berlin. Dr. Holger Schwetter ist selbständiger Musikwissenschaftler, Kulturmanager und Berater und hat Lehraufträge an der Hochschule Osnabrück und der Universität Paderborn.

Communication and traffic. --- Mass media and globalization. --- Popular music. --- Popular Culture. --- Business. --- Management science. --- Media Industries. --- Media and Globalisation. --- Popular Music. --- Popular Culture. --- Business and Management.