New Taiwan Cinema in the 80s
by Douglas Kellner
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New Taiwan Cinema in the 80s
by Douglas Kellner

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¿Estamos inmersos en un entorno mediático que moldea profundamente nuestra percepción de la realidad?
Kolektif – Medya, İdeoloji ve Hegemonya (2025)
Savaş Çoban’ın editörlüğünü yaptığı ‘Medya, İdeoloji ve Hegemonya’ (‘Media, Ideology and Hegemony’) adlı kitap, medyanın ideolojik rolünü ve toplumsal hegemonya üzerindeki etkisini farklı perspektiflerden inceleyen makalelerden oluşuyor. Kitap, medyanın sadece haber ve bilgi aktaran bir araç olmadığını, aynı zamanda ideolojilerin üretildiği, yeniden üretildiği ve yaygınlaştırıldığı bir alan…
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“Truth in the postmodern register, by contrast, is multiple, constructed, perspectival, and not subject to an indubitable perception, absolute grounding, or certainty. The show thus undercuts the series' modernist quest for truth by suggesting that perhaps "the truth is out there," but it is hidden under multiple, dramatically conflicting interpretations and perspectives.”
— The X-Files and the Aesthetics and Politics of Postmodern Pop, Douglas Kellner
While the reactionary horror genre shows its monsters as inexplicable, as forces of nature, as if nature itself were evil, threatening, and in need of control and domination, The X-Files often shows monstrosity to be a creation of social forces, of societal evils, and not incomprehensible forces of nature.
The X-Files and the Aesthetics and Politics of Postmodern Pop, Douglas Kellner

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Why Kanye Doesn’t Play with Anal Play
Why Kanye Doesn’t Play with Anal Play by Rani Corak for #TheMonthlyRag on @FemGeniuses
By Rani Corak (‘18)
The outrageousness of Kanye West’s most recent public fight with his ex-girlfriend Amber Rose has caught a lot of attention. In response to harsh words exchanged between Kanye and her ex-boyfriend Wiz Khalifa, Rose tweeted “Awww @kanyewest are u mad I’m not around to play in ur asshole anymore? #FingersInTheBootyAssBitch.” This was a dig obviously meant to undermine Kanye’s…
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The Growth of South African Comics
"The Growth of South African Comics" by Mari Young ('18) for #TheMonthlyRag
By Mari Young (’18)
In recent years, the U.S. comics industry has generated increased critical, scholarly, and popular attention. The sheer strength, volume, and range of the comics produced, as well as the enthusiasm of fan culture, renders the industry a powerful ideology-producing tool. Although other publishers have experienced growth since the industry was conceived post-WWII, Marvel and DC…
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A politics of identity helps to foster the development of political and cultural identities and solidarity through struggling against oppression and for a more just and humane society. There are, of course, limitations to a postmodern politics of identity and difference. Differences can become reified and fetishized, and can produce rigid barriers between individuals and groups, leading to a replication of special interest group politics. Common interests can be obscured in favour of heterogeneity, difference, and fragmentation that ultimately buttresses white male and capitalist domination. Politics also can be redefined into a harmless politics of style and personal identity that leaves relations of domination intact and unchallenged. In addition, a politics of identity can foster nationalism and chauvinism, leading individuals to believe that their groups and subject positions are superior to others....We find pure postmodern theory without a strong dose of feminism or Marxism to be incapable of addressing concrete political problems. Postmodern theory in its more extreme forms tends to be exactly what it accuses modern theory of being: one-sided, reductionist, essentializing, excessively prohibitive, and politically disabling.
Douglas Kellner and Steven Best, Postmodern Theory: Critical Interrogations, pp. 213-214