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An incisive look at a pervasive presence in our lives, Behind the Search Box places the search engine industry’s rise and ongoing success within an original political economy of digital capitalism.

Founded in Galveston in 1842 with the launch of the Daily News, the Belo Corporation entered the twenty-first century as a powerhouse conglomerate, owning four daily newspapers (including the Dallas Morning News), twenty-six television and cable stations, and over thirty interactive Web sites. The first comprehensive work to bring to life this remarkable success story, Belo blends biography with a history of corporate strategies.

Drawing on company archives and private papers of key figures, including A. H. Belo and G. B. Dealey, former company archivist Judith Garrett Segura brings to life important chapters in the cultural life of Texas, from Galveston's days as the largest and most vibrant town in the Republic of Texas, through the wars that followed statehood, periods of economic hardship, and the effects of sweeping social change. Turning points in the company's history, such as the sale of its Galveston paper when company revenues were dramatically affected by candid reporting of Ku Klux Klan activities in the 1920s, highlight crucial elements of the press's role in the life of a community. Segura also charts technological advances, from the telegraph and the typographers' union to the dawn of the Information Age. Finally, she includes the most complete portrait of the Dallas Times Herald Company to date, documenting the rise and fall of Belo's chief rival.

This is a story of frontier survival and futuristic thinking, marketing genius and historic reporting, nurtured by a family of mavericks.

From meadows to marshlands, seashores to suburbs, field guides help us identify many of the things we find outdoors: plants, insects, mammals, birds. In these texts, nature is typically represented, both in words and images, as ordered, clean, and untouched by human technology and development. This preoccupation with species identification, however, has produced an increasingly narrow view of nature, a “binocular vision,” that separates the study of individual elements from a range of larger, interconnected environmental issues. In this book, Spencer Schaffner reconsiders this approach to nature study by focusing on how birds are presented in field guides.

Starting with popular books from the late nineteenth century and moving ultimately to the electronic guides of the current day, Binocular Vision contextualizes birdwatching field guides historically, culturally, and in terms of a wide range of important environmental issues. Schaffner questions the assumptions found in field guides to tease out their ideological workings. He argues that the sanitized world represented in these guides misleads readers by omitting industrial landscapes and so-called nuisance birds, leaving users of the guides disconnected from environmental degradation and its impact on bird populations.

By putting field guides into direct conversation with concerns about species conservation, environmental management, the human alteration of the environment, and the problem of toxic pollution, Binocular Vision is a field guide to field guides that takes a novel perspective on how we think about and interact with the world around us.

Blood Bowl, Jervis Johnson’s game of fantasy football, has been captivating players worldwide for nearly forty years. But what makes this game—with its painted miniatures, intricate rules, and passionate global community—so enduring? In Blood Bowl: Fictions, Rules, Players, Paul Wake traces the game’s history from its origins to the present day, situating the game within the broader contexts of Games Workshop’s manufacturing and commercial history. Wake draws on interviews with the game’s designers, players, artists, and sculptors alongside archival materials to give a comprehensive account of the game’s rich satirical storytelling, the risk management and spatial puzzles at the heart of its rules, and the psychology that makes Blood Bowl one of the most compelling games ever designed.

Long before internet archives and the anytime, anywhere convenience of streaming, people collected, traded, and shared radio and television content via informal networks that crisscrossed transnational boundaries.

Eleanor Patterson’s fascinating cultural history explores the distribution of radio and TV tapes from the 1960s through the 1980s. Looking at bootlegging against the backdrop of mass media’s formative years, Patterson delves into some of the major subcultures of the era. Old-time radio aficionados felt the impact of inexpensive audio recording equipment and the controversies surrounding programs like Amos ‘n’ Andy. Bootlegging communities devoted to buddy cop TV shows like Starsky and Hutch allowed women to articulate female pleasure and sexuality while Star Trek videos in Australia inspired a grassroots subculture built around community viewings of episodes. Tape trading also had a profound influence on creating an intellectual pro wrestling fandom that aided wrestling’s growth into an international sports entertainment industry.

How the cinematic gaze reveals the hidden operations of border zones


Examining a variety of documentary films made along the borders of Europe since the turn of the twenty-first century, Border Mediascapes takes a cinematic eye to the technologies employed in governing spatial movement. Working at the intersections of social sciences, political theory, contemporary media, and cinema aesthetics, this book expands our understanding of the border as not just a static political boundary inscribed on a map but a complex, dynamic network of human and nonhuman agents. 

Francesco Zucconi asserts that contemporary borders are environments defined by media: a perpetually shifting set of interactions between physical bodies and sensors, surveillance cameras, satellites, mapping programs, digital signage, and cellular devices. Analyzing documentaries filmed by or in collaboration with migrants, Border Mediascapes demonstrates how cinema can be used to reveal the otherwise unseen apparatuses that facilitate systematized practices of recognition, expulsion, and erasure.

As he details the ways specific border technologies measure and identify individuals as part of the larger project of territorial control, Zucconi illustrates the effectiveness of cinema for capturing the entanglement of geopolitics and biopolitics. Viewing the cinematic perspective as simultaneously analytical, critical, and complicit with the new technological frontier, Zucconi shows how the medium can deepen our understanding of borders as sites of power, resistance, and resilience.

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Before the Internet brought the world together, there was border radio. These mega-watt "border blaster" stations, set up just across the Mexican border to evade U.S. regulations, beamed programming across the United States and as far away as South America, Japan, and Western Europe.

This book traces the eventful history of border radio from its founding in the 1930s by "goat-gland doctor" J. R. Brinkley to the glory days of Wolfman Jack in the 1960s. Along the way, it shows how border broadcasters pioneered direct sales advertising, helped prove the power of electronic media as a political tool, aided in spreading the popularity of country music, rhythm and blues, and rock, and laid the foundations for today's electronic church. The authors have revised the text to include even more first-hand information and a larger selection of photographs.

A comparative media analysis of the representation of the U.S.–Mexico border

Border tunnels at the U.S.–Mexico border are ubiquitous in news, movies, and television, yet, because they remain hidden and inaccessible, the public can encounter them only through media. Analyzing the technologies, institutional politics, narrative tropes, and aesthetic decisions that go into showing border tunnels across multiple forms of media, Juan Llamas-Rodriguez argues that we cannot properly address border issues without attending to—and fully understanding—the fraught relationship between their representation and reality.

Llamas-Rodriguez reveals that every media text about border tunnels, whether meant for entertainment, cable news, video games, or speculative design, implicitly takes a position on the politics of the border. The examples laid out in Border Tunnels will teach readers how to look differently at the border as it is commonly presented in various forms of media, from ABC’s Nightline and CNN’s Anderson Cooper 360º to reality TV, propaganda videos, and even digital effects in Hollywood action films. Llamas-Rodriguez examines how creative decisions in the production, promotion, and distribution of these media texts either emphasize or downplay issues such as border security, racial dynamics of migration, and sustainability of the borderlands. 

Focusing on tunnels to show how media representations can influence all kinds of audiences—even those physically near the border—Border Tunnels helps us make sense of this pressing social issue, ultimately advancing understanding of the U.S.–Mexico border in all of its complexity and precariousness.

In the mid-nineteenth century, Boston fashioned itself as a global hub. By the early 1970s, it was barely a dot on the national picture. It had gained a reputation as a decaying city rife with crime and dysfunctional politics, as well as decidedly retrograde race relations, prominently exemplified by white resistance to school integration. Despite this historical ebb in its national and international presence, it still possessed the infrastructure—superb educational institutions such as Harvard and MIT, world-class sports teams like the Celtics and Red Sox, powerful media outlets like The Boston Globe, and extensive shipping capacity—required to eventually thrive in an age of global trade and mass communication.

In Boston Mass-Mediated, Stanley Corkin explores the power of mass media to define a place. He examines the tensions between the emergent and prosperous city of the late twentieth and early twenty-first centuries and its representation in a range of media genres such as news journalism, professional sports broadcasting, and popular films like Mystic River and The Departed. This mass media, with its ever-increasing digital reach, has emphasized a city restricted by tropes suggestive of an earlier Boston—racism, white ethnic crime, Catholicism, and a pre-modern insularity—even as it becomes increasingly international and multicultural. These tropes mediate our understanding and experience of the city. Using Boston as a case study, Corkin contends that our contemporary sense of place occurs through a media saturated world, a world created by the explosion of digital technology that is steeped in preconceptions.

Turkey presents a striking example of the most recent wave of global authoritarian turns. The two-decade-long transition in the country’s political system also transformed its media environment. As mainstream journalists gradually yielded their places to sycophants, much more willing to praise the government in their news, the mainstream media that once oversaw—however imperfectly—political decisions started devoting its full service to cheerleading the government. Simultaneously, a new sphere of critical journalism began to emerge, with mainstream media journalists joining their fellows in the peripheries of the media. Considering the transformation of Turkey’s news media as the decay of a democratic institution, this book asks, How does the media break down under the rule of an elected government?
 
Drawing on fieldwork and in-depth interviews, the book traces the ruling AKP’s manipulation of social divides to consolidate power and journalists’ navigation of the resulting climate of fear, hope, doubt, and anger. The book shows how Turkey’s news media surrendered its power over politics as some journalists embraced disinformation as a path to heightened status, others turned to self-censorship for protection, and still others resisted capture through continuous but fragmented efforts.
 
The book portrays journalists as central actors in media decay, while also revealing that resilience to decay emerges where rising demand for “news” meets the contentious mobilization of journalists. Although focused on Turkey, the book’s insights extend far beyond, offering urgent lessons about the future of journalism in an age of populism, polarization, and institutional erosion.

How are images made, and how should we understand their limits, capacities, and forces in digital media?

While functioning as representations or mediations of the political, images also act through the technologies and social processes that they claim only to represent. In both capacities, images can be innovative, but they can also reproduce harmful phenomena such as racism, misogyny, and conspiracy. Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.

"They wouldn't let him rest—even in his grave." Thus Charles Carver opens his story of the climactic years of a journalist who had poured out such blazing prose that readers from England to Hawaii mourned his murder.

The impact of William Cowper Brann's Iconoclast upon the town of Waco, Texas, in the 1890's was like a rocket burst in a quiet sky. Rebelling against Victorian hypocrisy, the newspaperman took aim at organized virtue, exemplified for him by Baylor University and other Baptist organizations.

Dr. Roy Bedichek, noted author and naturalist, knew Brann, and after reading this book in manuscript said, "I am at once delighted and disappointed: disappointed to find my teen-age hero reduced to size... delighted with the art of the biographer.... It has genuine literary excellence... is a chapter in the history of the publishing business in Texas that needs to be put into print...."

Walter Benjamin reimagined through the forgotten power of radio

Philosopher and cultural critic Walter Benjamin (1892–1940) has long been recognized for his influence on the fields of literature, film, media studies, critical legal theory, and philosophy. Bringing fresh attention to an often-overlooked aspect of his oeuvre, Bridging Benjamin examines the dozens of radio broadcasts he produced, primarily for children, between 1927 and 1933. Delivered after the academic rejection of his notoriously complex Trauerspiel, these shows became a testing ground for Benjamin’s developing ideas and experimental pedagogy. Though they were cast off as inconsequential by both Benjamin and his contemporaries, Dominic Smith reveals the broadcasts to be a fruitful site for a novel, “derailed” interpretation of Benjamin’s larger body of work.

Reading Benjamin’s radio production as a dynamic site of philosophical experimentation, Smith uses it as a channel and amplifier for three integral but underappreciated aspects of Benjamin’s work: his philosophies of technology, place, and education. Showing how he used broadcast media to explore the increasing “virtualization” of place in networked society, Bridging Benjamin encourages an embrace of Benjamin in contrast to his divisive historical counterparts in the philosophy of technology, such as Martin Heidegger and Carl Schmitt.

Interpreting Benjamin’s broadcasts as a form of peripatetic thinking—deeply embedded in place, yet mobile and mediated—Bridging Benjamin offers a compelling model for reassessing attachments to the technologies and practices shaping our contemporary worlds.

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