Beyond The Mainstream

Offering one of the most comprehensive assessments of alternative media to date, Beyond Mainstream Media examines the rise of alternative media over the last decade, analysing their changing content and editorial strategies, and exploring why many people go beyond the mainstream media for news and information. Considering the differences in agenda between alternative and mainstream media coverage, Cushion sheds light on why right-wing alternative media have become a more prominent part of national media systems than left-wing sites in the Western World. In doing so, he argues that alternative left-wing media should place less emphasis on attacking professional journalism and focus more on converging into the world of mainstream news to promote their politics. This book draws on over 3,500 articles and 17,000 social media posts produced by alternative media, extensive interviews with editors and contributors, and a survey of over 2,700 media users. It develops a comparative international perspective by explaining how findings and concepts can be applied to understanding much broader issues, such as public distrust in the mainstream media or the influence different media and political systems have on the production of alternative media. Providing both an introduction to and a critical analysis of the state of alternative media today, this book is written in clear, jargon-free language and is recommended reading for advanced students undertaking courses in Alternative Media and Political Journalism.

This selection of essays by a prominent art historian, critic and curator of modern art examines the art and artists of the twentieth century who have operated outside the established art world. In a lucid and accessible style, Peter Selz explores modern art as it is reflected, and has had an impact on, the tremendous transformations of politics and culture, both in the United States and in Europe. An authoritative overview of a neglected phenomenon, his essays explore the complex relationship between art at the periphery and art at the putative center, and how marginal art has affected that of the mainstream.

This selection of essays by a prominent art historian, critic and curator of modern art examines the art and artists of the twentieth century who have operated outside the established art world. In a lucid and accessible style, Peter Selz explores modern art as it is reflected, and has had an impact on, the tremendous transformations of politics and culture, both in the United States and in Europe. An authoritative overview of a neglected phenomenon, his essays explore the complex relationship between art at the periphery and art at the putative center, and how marginal art has affected that of the mainstream.

Four case studies bring to the fore decolonial and other non-hegemonic approaches to the profession of curating in Sweden from the 1960s to the early 2000s. Edited by CuratorLab at Konstfack University of Arts: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza Through four case studies, Archeology of a Profession in Sweden brings to the fore decolonial and other non-hegemonic approaches to the profession of curating in Sweden from the 1960s to the early 2000s. Carlos Capelán, Elisabet Haglund, Gunilla Lundahl, and Jan-Erik Lundström made their mark on art and curating of their time, at institutions such as Kulturhuset and Arkitekturmuseet in Stockholm, Borås Konstmuseum and Bildmuseet in Umeå, but also through exhibitions on trains and in parks. They pioneered what today is called “social practice” and embraced art and artists from all parts of the world. This book highlights their underresearched work in presentations, essays, and interviews, accompanied by rare photographic documentation.

This book provides a critique of the neoclassical explanations of the 2008 financial collapse, of the ensuing long recession and of the neoliberal austerity responses to it. The study argues that while the prevailing views of deregulation and financialization as instrumental culprits in the explosion and implosion of the financial bubble are not false, they fail to point out that financialization is essentially an indication of an advanced stage of capitalist development. These standard explanations tend to ignore the systemic dynamics of the accumulation of finance capital, the inherent limits to that accumulation, production and division of economic surplus, class relations, and the balance of social forces that mold economic policy. Instead of simply blaming the ‘irrational behavior’ of market players, as neoliberals do, or lax public supervision, as Keynesians do, this book focuses on the core dynamics of capitalist development that not only created the financial bubble, but also fostered the ‘irrational behavior’ of market players and subverted public policy. Due to its interdisciplinary perspective, this book will be of interest to students and researchers in economics, finance, politics and sociology.

While issues of marginalization and participation have engaged scholars across various disciplines and domains, and a range of theoretical perspectives and methodological framings have been deployed in this enterprise, the research presented in this volume aligns itself to alternative traditions by focusing on people’s membership and participation across settings and institutional contexts. The work here, thus, focuses on the constitution of marginalization inside, outside and across a range of settings. It centre-stages marginalization and participation as action in the human world. Going beyond a focus on the marginalized or explanations of marginalization or comparing groups of the marginalized with the non-marginalized, a number of contributions focus on mundane processes inside, outside and across institutional settings in different geopolitical spaces. Other chapters in the book demonstrate the marginalization of specific analytical foci in the research process or hegemonies of national high-stake testing protocols and specific dialects in different geopolitical regions or in domains such as the sporting arena. In contrast to other studies on marginalization and participation, this book takes its point of departure in the complexities that characterize and shape both individuals and societies, past and present. Its chapters challenge demarcated fields of study and conceptions of identity framed marginalization and participation. Drawing attention to the fact that the centre (continues to) define the margins, the work presented here joins research efforts that highlight the need to focus on the constitution of marginalization and participation in a wide range of settings with the explicit aim of going beyond static boundaries that define the human state at different scales of becoming and beyond an understanding of development and progress in terms of a linear trajectory.

In Indonesian Cinema after the New Order: Going Mainstream, Thomas Barker presents the first systematic and most comprehensive history of contemporary Indonesian cinema. The book focuses on a 20-year period of great upheaval from modest, indie beginnings, through mainstream appeal, to international recognition. More than a simple narrative, Barker contributes to cultural studies and sociological research by defining the three stages of an industry moving from state administration; through needing to succeed in local pop culture, specifically succeeding with Indonesian youth, to remain financially viable; until it finally realizes international recognition as an art form. This “going mainstream” paradigm reaches far beyond film history and forms a methodology for understanding the market in which all cultural industries operate, where the citizen-consumer (not the state) becomes sovereign. Indonesia presents a particularly interesting case because “going mainstream” has increasingly meant catering to the demands of new Islamic piety movements. It has also meant working with a new Ministry of Tourism and Creative Economy, established in 2011. Rather than a simplified creative world many hoped for, Indonesian filmmaking now navigates a new complex of challenges different to those faced before 1998. Barker sees this industry as a microcosm of the entire country: democratic yet burdened by authoritarian legacies, creative yet culturally contested, international yet domestically shaped. “This is a significant piece of scholarly contribution informed by an extensive range of interviews with industry insiders. This volume is particularly welcome given the dearth of English-language publications on Indonesian cinema in the last two decades. I have no doubt that the book will be extensively used in any future work on national cinema, not just in Indonesia, but Southeast Asia more widely.” —Krishna Sen, University of Western Australia “Indonesian Cinema after the New Order is a marvelously entertaining and important contribution to the study of Indonesian cinema, youth culture, and media worlds in a global context. In fact, I would consider it the best book I have seen on the subject of the Indonesian film industry.” —Mary Steedly, Harvard University