Fast Food and Fatness in Popular Media: Interrogating the Link

2020 ◽  
pp. 11-19
Author(s):  
Margaret Hass
Keyword(s):  
PsycCRITIQUES ◽  
2007 ◽  
Vol 52 (51) ◽  
Author(s):  
Louis Hoffman ◽  
Christine Buck
Keyword(s):  

2006 ◽  
Author(s):  
Wen-Ruey Chang ◽  
Yueng-Hsiang Huang ◽  
Kai Way Li ◽  
Alfred Filiaggi ◽  
Theodore K. Courtney

2012 ◽  
Author(s):  
Steve A. Schuetz ◽  
Heather Ventura ◽  
Bekka Wolfgeher ◽  
Anthony Littrell ◽  
Alicia Chandler

2019 ◽  
Vol 28 (1) ◽  
pp. 59-61
Author(s):  
V.L. Cheshinsky ◽  
◽  
L.E. Glagoleva ◽  
N.P. Zatsepilina ◽  
◽  
...  

2008 ◽  
Vol 5 (1) ◽  
pp. 53-62 ◽  
Author(s):  
Östen Wahlbeck

The article discusses the experiences of self-employment among immigrants from Turkey living in Finland. The immigrants are mainly active in the restaurant and fast food sector in Finland, primarily in small kebap and pizza businesses. The article argues that both economic and social aspects explain the experiences of self-employment. Despite economic hardship, the freedom and social status connected to entrepreneurship is highly valued. Self-employment provides a positive self-understanding and a good social status, which the immigrants from Turkey find it difficult to achieve by any other means in Finnish society


Author(s):  
Stephen Monteiro

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.


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