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Purpose – This chapter examines how prison spaces are depicted in fictional contexts built around icons of popular music. Given that both icons and inmates occupy spaces that the majority of the population does not observe or experience, I am interested in the degree to which prisons serve as stagings for queer expression, even when inhabited by mainstream music stars.

Design/methodology/approach – The lyrical content and visual texts of Elvis Presley’s “Jailhouse Rock,” Michael Jackson’s “They Don’t Care About Us,” Lady Gaga’s “Telephone,” as well as material from mainstream musicals like Chicago, are closely analyzed and linked to other scholarly work on prison narratives.

Findings – In addition to binding the power of pop iconicity to the experience of incarceration, the musical numbers and cultural artifacts examined here also reveal differing manifestations of queer motifs in their visual and lyrical construction. Mainstream representations of prisons’ unique and liminal social orders are therefore considered to be open to queer renderings of affection and provocation.

Originality/value – Although prison sexuality is intensely studied by human rights organizations and criminologists, the possibilities for queer expression within fictional prison contexts have not been explicitly linked to the pop personas of music superstars and their creative projects.

This chapter analyses the presence of Russian feminists and female LGBTIQ+ activists within US-American mainstream media. In the course of a multimedia discourse analysis, it briefly raises questions of who becomes featured and how, to argue that current debates marginalise Russian queer female, trans*gender and intersex voices, compared to those of male queers. One exception to this trend is the case of the journalist and activist Masha Gessen. Together with Nadya Tolokonnikova of the protest group Pussy Riot, Gessen seems to represent Russian queers and feminists within US media. Although marginal, compared to the presence of US feminisms, especially popular culture figures such as Beyoncé Knowles-Carter or Lady Gaga, the two women become frequently featured within US news media and beyond. Frequently, those articles, interviews and discussions of their work open up a debate, or rather comparisons, between US values and Russian values, questions of modernity, progress and civilisation. Equally often, the female Russian dissidents are pictured as ‘Putin’s victims’ – the female versions of David fighting against Goliath – by focussing especially on their physical vulnerability and their female bodies. In this vein, feminism is constructed as inherently ‘Western’, while the bodies that carry out such feminisms and most of all their country of origin is entirely ‘othered’. Comparing the (self-)representations to other voices of female Russian dissent within US media, the author critically discuss the Western gaze of US mainstream media, its victimising strategies and homonationalistic construction of US identity and US nation in rejection of a ‘backward’ homophobic Russia.

To examine the ways in which video supported an interdisciplinary literacy intervention for struggling high school students in re-engaging youth in school and developing academic literacy.

This chapter draws on an ongoing qualitative case study of the two classrooms that comprise the high school literacy intervention, presenting strong inductive themes as to the central goals of the program and the role of video in facilitating those goals.

Video was a crucial resource in a type of “spiral curriculum” (Bruner, 1996) that explored a relevant and engaging year-long theme by moving students from informal reflection and discussion to formal academic writing.

Video can be a crucial resource for helping teachers rethink what texts and topics “count” in the literacy classroom. For students positioned as “at risk,” this move can help a literacy classroom to reframe students’ academic identities and find relevant contexts for developing academic literacy.

In port cities with declining industries, waterfront redevelopment is one major part of the competitive agenda. The increasing economic importance of service, leisure, and tourism industries created an opportunity to reuse urban waterfront areas no longer considered profitable. Parque das Nações in Lisbon is a product of such a process: It’s a newly built mixed-use waterfront neighborhood, planned, and developed, first and foremost, to be the site of Expo ’98. This former industrial and port area has been emerging in the last 15 years as a “showcase” for Lisbon: a piece of the competitive strategy of the Portuguese capital. Its public spaces are an important part of that strategy and have been managed in order to remain particularly safe and clean.

On one hand, Parque das Nações is a socially homogenous elite residential neighborhood, on the other hand, it is emerging as a new metropolitan centrality characterized by an intense mobility and by an increasing concentration of urbanites carrying on work and leisure related activities. It is the coexistence of these two complementary and contradictory dynamics that shapes the interactive logic of public life in the area.

This chapter explores the use, appropriation, and interaction patterns afforded by the public spaces of Parque das Nações. I discard both the idealized conception of public spaces that characterizes them as havens of diversity and accessibility and the more contemporary idea of public spaces as empty spaces that no longer promote encounters with others, serving exclusively as marketing tools for real-estate developers. Instead, I argue that the production of urban areas such as Parque das Nações is a socially unequal process resulting in excessively planned and controlled public spaces. However, when they attract different populations for different reasons, these spaces might foster unexpected, emergent, or even transgressive uses and interactions that promote public space vitality.

This chapter is a first-person exploration of the process of pursing a doctoral degree and a faculty career as a person of color in the field of library and information science.

The chapter focuses on the varying levels of diversity and inclusion in LIS practice and education and the impacts of those differences on who enters the field, what gets taught, and who stays in the field.

The chapter concludes that there are varied levels of diversity and inclusion in library and information science practice and education and that the racial biases and insensitivities encountered in the field can have significant impacts on persons of color in the field.

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

The purpose of this paper is to examine the effect of parental and peer norms on idol worship as well as the effect of idol worship on the intention to purchase and obtain the idol’s music products legally and illegally.

A stratified, two-stage, cluster sampling procedure was applied to a list of high schools obtained from the Ministry of Education in Taiwan. A return rate of 80 per cent yielded 723 usable questionnaires, the data from which were analysed by the LISREL structural equation modelling software.

The results suggest that both social worship and personal worship have a significant and positive impact on the intention to purchase music. However, personal worship has a negative impact on the intention to pirate music while social worship appears to strengthen it.

The findings suggest that idol worship is more complex than previously understood. The constructs chosen in this research should be seen only as a snapshot but other variables such as vanity trait, autonomy, romanticism or involvement are not taken into account. Future studies would benefit from inclusion of these variables and a wider geographical scope.

The findings contain many implications to help marketing executives and planners better revise their existing marketing and communication strategies to increase their revenue.

Existing research has tended to examine the impact of idol worship as a whole on the reduction of music piracy, but overlook the two-dimensional aspects of idol worship, hence ignoring the fact that many music firms have not properly utilised idol worship to deal with the challenges associated with music piracy. The findings broaden existing understanding about the causes of two different dimensions of idol worship and their different impacts on the intention to music piracy.