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This book makes sense of the social, political, and conceptual consequences of the 2008 credit crisis by looking at the ways that our culture has sought to formally represent and politically respond to it.

A novel account of the relationship between postindustrial capitalism and postmodern culture, this book looks at American poetry and art of the last 50 years in light of the massive changes in people's working lives.

Through fascinating case studies of people working in publishing both large and small-scale, traditional and digital, this book tells the story of how new literary work emerges and finds readers in our era of too many books.

Through case studies of how mid-century American poetry used recording technologies to contest models of time being put forward by dominant media and the State, this book explores how New Left poets mobilized recording as a new form of sonic field research even while they were being subject to tape-based surveillance by the CIA and the FBI.

Focusing on its literary programming in particular, this study of UNESCO shines a light on the close relationship between state-backed economic development and the global postwar cultural policy establishment.

In December of 1997, the International Monetary Fund announced the largest bailout package in its history, aimed at stabilizing the South Korean economy in response to a credit and currency crisis of the same year. Vicious Circuits examines what it terms "e;Korea's IMF Cinema,"e; the decade of cinema following that crisis, in order to think through the transformations of global political economy at the end of the American century. It argues that one of the most dominant traits of the cinema that emerged after the worst economic crisis in the history of South Korea was its preoccupation with economic phenomena. As the quintessentially corporate art form-made as much in the boardroom as in the studio-film in this context became an ideal site for thinking through the global political economy in the transitional moment of American decline and Chinese ascension. With an explicit focus of state economic policy, IMF cinema did not just depict the economy; it also was this economy's material embodiment. That is, it both represented economic developments and was itself an important sector in which the same pressures and changes affecting the economy at large were at work. Joseph Jonghyun Jeon's window on Korea provides a peripheral but crucial perspective on the operations of late US hegemony and the contradictions that ultimately corrode it.