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Hacktivist group disables numerous darknet child pornography sites, publishes 1,500 related usernames, and invites FBI and Interpol to investigate.

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Thoroughly researched and fully APA referenced chronological history of film censorship and classification in Australia. Case by case histories of banned films punctuate a detailed account of the evolution of the Australian Film Classification system and the concurrent development of the Australian adult XXX industry, culminating in the establishment of the Australian Sex Party.Former SAR Research Fellow at Australia’s National Film & Sound Archive Robert Cettl gained exclusive access to both the national collection and the highly restricted Australian adult industry archive, the Eros Collection, at the Flinders University of South Australia Library to piece together the complete history of film censorship in Australia.Progressing through individual banned and censored films – including works by such internationally renowned directors as Hitchcock, Whale, Bunuel, Forman, Godard, Oshima, Pasolini, Hopper, Lyne, Breillat, Noe, Brass, Bertolucci, Fellini, Ford, Clark, Despentes, Winterbottom, Von Trier – Cettl maps out the specification of “offensive” material in parallel to the emergence of Australia’s adult XXX industry and the Christian morals-driven pressure groups that advocate tighter censorship restrictions.In a country that has the dubious honor of being the most censorial of Western democracies, film censorship is based on the principle of “offense to a reasonable adult”, an undefined refrain that religious minorities have used to manipulate censorship decisions in their favor. The history of these groups and the political support for their right-wing Christian agenda – driven by what Australians term “Wowserism” – makes Australian film censorship unique in its delineation of :the “aesthetics of offense” as grounds for the suppression of free dissemination, to the point of seeking mandatory ISP Internet filtering and Internet blacklisting of all material classified RC (or “refused classification”), much of which is available for dissemination throughout Europe and the USA, in violation of UN Human Rights Article 19.In this comprehensive study of the socio-political ideology surrounding the censorship of primarily sexually explicit material (“pornography”), Cettl delineates the aesthetic construction of “offense” as a transgressive genre and charts the morality-driven religiosity behind their construction as Other to a civilized society, questioning whether the categorization of such material as other makes of it legitimate discourse.  With extensive case histories, never-before-published government censorship reports, press clippings and secret internal memos between some of Australia’s most powerful and influential politicians, Offensive to a Reasonable Adult exposes the quagmire of Australian censorship law and the morals-cabal of “wowsers” that dominate the censorship agenda in the so-called “Clever Country”.

The long 1950s, which extend back to the early postwar period and forward into the early 1960s, were a period of “containment culture” in America, as the media worked to reinforce traditional family values and suspected communist sympathizers were blacklisted from the entertainment industry. Yet some brave filmmakers and actors still challenged the status quo to produce indelible and imaginative work that delivered uncomfortable truths to Cold War audiences. Triumph Over Containment offers an uncompromising look at some of the era’s greatest films and directors, from household names like Alfred Hitchcock and Stanley Kubrick to lesser-known iconoclasts like Samuel Fuller and Ida Lupino. Taking in everything from The Thing from Another World (1951) to Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), acclaimed film scholar Robert P. Kolker scours a variety of different genres to find pockets of resistance to the repressive and oppressive norms of Cold War culture. He devotes special attention to two quintessential 1950s genres—the melodrama and the science fiction film—that might seem like polar opposites, but each offered pointed responses to containment culture. This book takes a fresh look at such directors as Nicholas Ray, John Ford, and Orson Welles, while giving readers a new appreciation for the depth and artistry of 1950s Hollywood films.

How 4chan and 8chan fuel white nationalism, inspire violence, and infect politics.The internet has transformed the ways we think and act, and by consequence, our politics. The most impactful recent political movements on the far left and right started with massive online collectives of teenagers. Strangely, both movements began on the same website: an anime imageboard called 4chan.org. It Came from Something Awful is the fascinating and bizarre story of sites like 4chan and 8chan and their profound effect on youth counterculture.Dale Beran has observed the anonymous messageboard community's shifting activities and interests since the beginning. Sites like 4chan and 8chan are microcosms of the internet itself—simultaneously at the vanguard of contemporary culture, politics, comedy and language, and a new low for all of the above. They were the original meme machines, mostly frequented by socially awkward and disenfranchised young men in search of a place to be alone together.During the recession of the late 2000’s, the memes became political. 4chan was the online hub of a leftist hacker collective known as Anonymous and a prominent supporter of the Occupy Wall Street movement. But within a few short years, the site’s ideology spun on its axis; it became the birthplace and breeding ground of the alt-right. In It Came from Something Awful, Beran uses his insider’s knowledge and natural storytelling ability to chronicle 4chan's strange journey from creating rage-comics to inciting riots to—according to some—memeing Donald Trump into the White House.

This book analyzes the differences in content, reader expectation, and social/moral/ethical functions of the three types of novels in America of the 1950s. It challenges the notion that highbrow novels (Lolita) do important cultural work while popular novels contribute to personal and social decay, and examines how time periods influence the moral content of novels. The book separates popular fiction into lowbrow (Peyton Place) and middlebrow (Man in the Grey Flannel Suit) and explains that lowbrow (like highbrow) evolves from the folklore tradition and contains messages about how to be a good man or good woman and how to find a satisfying niche in the social order. Middlebrow, on the other hand, evolves from myth tradition and relates lessons on what personal adjustments need to be made to succeed in the economic order. Middlebrow novels most reflect the time and place of their writing because conditions for economic survival change more than conditions for social survival.Arguing that what most distinguishes highbrow from lowbrow is the audience, highbrow writers try to separate from the flock; lowbrow writers to include. This study differs from such well-known studies of popular fiction as John Cawelti's and Janice Radway's in looking beyond the surface features of plot, character, and theme. The book also challenges arguments that novels in which marriage is women's highest triumph and aggressive heroism men's reinforce limiting cultural paradigms.