Results by title

What might a sensible community choose to do if its economy has fallen apart and becoming a ghost town is not an acceptable option? Unfortunately, answers to this question have long been measured against an implicit standard: the postwar economy of the 1950s. After showing why that economy provides an implausible standard—made possible by the lack of economic competition from the European and Asian countries, winners or losers, touched by the war—John Henry Schlegel attempts to answer the question of what to do.

While Waiting for Rain first examines the economic history of the United States as well as that of Buffalo, New York: an appropriate stand-in for any city that may have seen its economy start to fall apart in the 1960s, 70s, and 80s. It makes clear that neither Buffalo nor the United States as a whole has had an economy in the sense of “a persistent market structure that is the fusion of an understanding of economic life with the patterns of behavior within the economic, political, and social institutions that enact that understanding” since both economies collapsed. Next, this book builds a plausible theory of how economic growth might take place by examining the work of the famous urbanist, Jane Jacobs, especially her book Cities and the Wealth of Nations. Her work, like that of many others, emphasizes the importance of innovation for economic growth, but is singular in its insistence that such innovation has to come from local resources. It can neither be bought nor given, even by well-intentioned political actors. As a result Americans generally, as well as locally, are like farmers in the midst of a drought, left to review their resources and wait. Finally, it returns to both the local Buffalo and the national economies to consider what these political units might plausibly do while waiting for an economy to emerge.

2023 Publication Award Honorable Mention, British Association for Film, Television and Screen Studies

An examination of the sound and silence of women in digital media.

In today’s digital era, women’s voices are heard everywhere—from smart home devices to social media platforms, virtual reality, podcasts, and even memes—but these new forms of communication are often accompanied by dated gender politics. In Women’s Voices in Digital Media, Jennifer O’Meara dives into new and well-established media formats to show how contemporary screen media and cultural practices police and fetishize women’s voices, but also provide exciting new ways to amplify and empower them.

As she travels through the digital world, O’Meara discovers newly acknowledged—or newly erased—female voice actors from classic films on YouTube, meets the AI and digital avatars in Her and The Congress, and hears women’s voices being disembodied in new ways via podcasts and VR voice-overs. She engages with dialogue that is spreading with only the memory of a voice, looking at how popular media like Clueless and The Simpsons have been mined for feminist memes, and encounters vocal ventriloquism on RuPaul’s Drag Race that queers and valorizes the female voice. Through these detailed case studies, O’Meara argues that the digital proliferation of screens alters the reception of sounds as much as that of images, with substantial implications for women’s voices.