Cover -- Title Page -- Copyright -- Contents -- Notes on Contributors -- Chapter 1 Introduction: The Problem of Media Authorship -- Part I Theorizing and Historicizing Authorship -- Chapter 2 Authorship and the Narrative of the Self -- Introduction: Three Acts -- Act I. God - or is it Mammon? - is an Author -- Act II. No-One is an Author -- Act III. Everyone is an Author -- Notes -- Chapter 3 The Return of the Author: Ethos and Identity Politics -- Fraught Authorship and its Ethical Implications -- Birth of the Author -- Death of the Author -- Postmodern Subjects and Why Identities Matter -- Hipster Racism and ''Other Asians'' -- ''Woman's Work'' and Squaring Up -- Pseudonyms and Online Identities -- Authority and Gender in Fan Texts -- Fan Reader/Writer Interaction -- Authorial Ethos -- Notes -- Chapter 4 Making Music: Copyright Law and Creative Processes -- Musical Visions: Sacralization and Changing Nineteenth-Century Conceptions of Creation -- Sacralization, Copyright Conceptions of Creativity, and the Rise of African-Based Music -- Copyright, Borrowing, and the Blues -- Conclusion -- Notes -- Chapter 5 When is the Author? -- A Recent History of the Author -- Many Authors -- Incomplete Authorship -- Many Readers or Many Authors? -- Clusters of Authorship -- Cluster Flux: A Conclusion -- Notes -- Chapter 6 Hidden Hands at Work: Authorship, the Intentional Flux, and the Dynamics of Collaboration -- Introduction -- The Author's Intentional Flux: A Low Altitude Theory -- Preliminary Stances: Bresson's Precompositional Commitment to Visual Austerity -- Bresson and Burel: Problems and Solutions in ''Stripping the Wires'' -- Conclusion: The Intentional Flux Model at the Intersection of Film and Media Studies -- Notes -- Part II Contesting Authorship.

Chapter 7 Participation is Magic: Collaboration, Authorial Legitimacy, and the Audience Function -- Everypony is an Author? -- From the Glue Factory to the TV Factory -- Authorship Straight from the Horse's Mouth -- Taking the Reins -- Conclusion: Horse Power -- Notes -- Chapter 8 Telling Whose Stories? Re-examining Author Agency in Self-Representational Media in the Slums of Nairobi -- Self-Representational Media Production -- The Research Setting -- Levels of Analysis in Self-Representational Media Production -- Self-Representational Media Authorship -- Notes -- Chapter 9 Never Ending Story: Authorship, Seriality, and the Radio Writers Guild -- Streaming Seriality as Cultural Form -- Irna Phillips and the Perils of Serial Authorship -- The Organization of Authorship -- Herding Cats - Invisible Cats -- Defining and Defending Radio Authorship -- The Consolidation of Authorship -- Notes -- Chapter 10 From Chris Chibnall to Fox: Torchwood's Marginalized Authors and Counter-Discourses of TV Authorship -- Tactical Authorship: Chris Chibnall as Showrunner ''Tenant'' -- Author Pseudonyms in Industry Counter-Discourse: Introducing Amos Crumpsall, Stone D. McFerris,and WebleyWildfoot -- The US-UK Torchwood that Wasn't: Fox as ''Evil''/''Lovely'' -- Conclusion -- Notes -- Chapter 11 Comics, Creators, and Copyright: On the Ownership of Serial Narratives by Multiple Authors -- Moral Rights of Authorship -- Economic Rights of Authors -- Shaping Associations -- Conclusion -- Notes -- Part III Industrializing Authorship -- Chapter 12 "Benny Hill Theatre'': "Race,'' Commodification, and the Politics of Representation -- Situating the Burden of Representation -- The Politics of British Asian Theatre Production -- ''Benny Hill Theatre'' and the Commercialization of Asian Theatre -- Authorship and Cultures of Production -- Conclusion -- Notes.

Chapter 13 Cynical Authorship and the Hong Kong Studio System: Li Hanxiang and His Shaw Brothers Erotic Films -- Authorship in a Wider Spectrum -- Li Hanxiang as Model of the Cynical Author in Cinema -- Li and the Studio: Whose Authorship? -- Conclusion -- Notes -- Chapter 14 The Authorial Function of the Television Channel: Augmentation and Identity -- The Tensions of Authorship in the Broadcast Era -- The Television Channel as Brand in the Cable/Satellite Era -- The Television Channel in the Digital Era -- Conclusion -- Notes -- Chapter 15 The Mouse House of Cards: Disney Tween Stars and Questions of Institutional Authorship -- The (Inter)Textuality of Stars and Star Brands -- Reconciling Duff, Disney, and Dollar Signs -- Developing Disney's Authorship Strategies -- Conclusion -- Notes -- Chapter 16 Transmedia Architectures of Creation: An Interview with Ivan Askwith -- Chapter 17 Dubbing the Noise: Square Enix and Corporate Creation of Videogames -- Introduction -- Corporations, Globalization, Cosmopolitanism -- A Developer's Self-Development: Square Enix -- Square Enix's Cosmopolitan Disposition -- A Spectrum of Dispositions -- Conclusions -- Notes -- Part IV Expanding Authorship -- Chapter 18 Authorship Below-the-Line -- Introduction -- The Problem of Collectivity -- Legal and Contractual Constraints on BTL Authorship -- Economic Stimuli and BTL Authorial Discourses -- Material Conditions: Forces of Authorial Disorder -- Conclusion -- Notes -- Chapter 19 Production Design and the Invisible Arts of Seeing -- Exploring the Black Hole -- The Author-Auteur Conundrum -- Power in the Shadows -- Virtually Real -- The Big Mash-Up -- The Story Space Ahead -- Notes -- Chapter 20 Scoring Authorship: An Interview with Bear McCreary -- Notes.

Chapter 21 Bowdown to Your New God: Misha Collins and Decentered Authorship in the Digital Age -- Expanding Transmedia -- Who Has the Right to Write? Authorship Made Visible -- The Collectively Authored Transmedia Star -- @mishacollins: Negotiating Power, Play, and Affect Online -- Transmedia Power Struggles -- Decentering Transmedia Authorship -- Conclusion -- Notes -- Chapter 22 Collaboration and Co-Creation in Networked Environments: An Interview with Molly Wright Steenson -- Notes -- Chapter 23 Dawn of the Undead Author: Fanboy Auteurism and Zack Snyder's "Vision'' -- Dawn of the Undead Author -- Constructing the Fanboy Auteur -- Watching the Watchmen: Authorial Paratexts and DVD Commentaries -- Suckerpunching the Fanboy Auteur: Critical Reception of Sucker Punch -- Conclusion (Or, What About the Fangirl Auteur?) -- Notes -- Part V Relocating Authorship -- Chapter 24 Authoring Hype in Bollywood -- ''It's All About Knowing Your Audience'' -- Reimagining the Audience: A Tale of Two Mahurats -- Bollywood-izing MTV-India -- Knowing the Audience, MBA-Style -- ''You Cannot Piss Off Anyone'' -- Conclusion -- Notes -- Chapter 25 Auteurs at the Video Store -- Auteur Sections -- Constructing Auteurs as Process -- Video Store Auteurs -- Conclusion -- Notes -- Chapter 26 Authorship and the State: Narcocorridos in Mexico and the New Aesthetics of Nation -- Thesis: Censoring Narcocorridos -- Antithesis: El Movimiento Alterado -- A Brief Synthesis by Way of Conclusion -- Notes -- Chapter 27 Scripting Kinshasa's Teleserials: Reflections on Authorship, Creativity, and Ownership -- Authorship? -- (In)Stability of the Script -- Sacred Authors -- Ownership -- Creative Adaptations -- Conclusion -- Notes -- Chapter 28 "We Never Do Anything Alone'': An Interview on Academic Authorship with Kathleen Fitzpatrick -- Notes -- Index.