Chapter 6 explains the need for a revision of the ADA. Current negotiations on the ADA are without positive outcomes. There are several reasons for this lack of progress such as deadlock in the Doha Development Round, the mega trade agreements or unwillingness on the part of top users of anti-dumping measures. Still, alternative solutions are proposed to settle the hidden trade protectionism in anti-dumping problems. Normative solutions include a comprehensive reform of the ADA. The study proposes changes to procedural justice in anti-dumping procedures. Due to the constraints on the substantive reform of the ADA in a short timescale, other possibilities are also discussed in order to improve procedural justice, including but not limited to (1) publishing best practice guidelines; (2) creating a standard questionnaire to be used by all WTO members; (3) reforming and fixing the DSM; (4) raising awareness among exporters. This chapter aims to highlight the current state of the negotiations on the ADA as well as the importance of procedural justice during a possible revision of the ADA and other practical means.

The gender of metal and the relationships between the music, misogyny and women have long raised eyebrows amongst popular commentators and scholars. Yet many metal fans claim that the genre is at heart an inclusive, even equal one, ready to welcome all fans regardless of gender, race and sexuality. This chapter gives an overview of thinking about the gendered meanings of metal, its origins in the music of Black blues women, the constraints on women’s music-making, the 1980s moral panic around metal and sexual violence, the gendering and queering of genre, women’s empowerment in metal and metal as a vehicle for feminist fury. I argue that placing women’s metal stories at the centre of our focus reveals different aspects of metal and its culture, and opportunities for understanding metal’s relationship with gender. Claims to inclusivity are exaggerated because metal exists in a sexist world and is not immune to societal discourses. The myth of equality is problematic because it impedes progression towards better inclusion. And yet metal provides opportunities for joy, power and for challenging misogyny for women, opportunities which are beginning to be grasped.

The aesthetics of comics is deeply linked to the history of media serialities. Modern comics were born in the newspaper and followed its periodic rhythms and exploited its logic of reader loyalty. The two historically dominant models of comics, the comic strip and the comic book, are each linked to a publication medium or format – the newspaper and the magazine, respectively – and to their logics of consumption. Many characteristics of the comic strip – the principle of gag variations, the importance of generic conventions, recurring characters, spin-off series, crossover logics – can be reinterpreted according to the industrial and media contexts in which they appear and which are aesthetically exploited by the authors. Reflection on the seriality of comics can therefore not be limited to analyses of plots or modes of graphic narration. It needs to consider media logics, including the industrial and commercial dynamics and modes of consumption they encourage. Ultimately, comics seriality engages with, on the one hand, the principles of generic seriality, which thematize these logics of production and consumption. On the other, diegetic seriality, of the recurrent character and the fictional universe, also determines the strategic choices of industrial and media players.

This chapter surveys various forms of identification with and consumption of K-pop idol celebrity and youth culture, from reactions on video logs to K-pop music videos, to theorize the particular forms of vicarious experience that bind K-pop idols to their fans and fans to each other. Vicarity relies on the ubiquitous reflexivity that defines social media platforms as sites of subject formation via media production and consumption. Social media participation constitutes an immersive, everyday form of meta-media, by which vicarious substitution through the consumption of vlogs/reactions induces acutely affective experiences of identification. Vicarious media seem to suggest a proxy for politics as an expression of collective sentiment – the ways in which media platforms bridge the private and the public through the increasingly complex arena of the social. Yet traditional modes of political organizing, remain recognizable in the activities of fan collectives. This chapter thus articulates how K-pop sheds light on the contradictory impulses for intense individuation – through the atomized personas overdetermined by social media and the vlog form – and the corresponding longing for ideals of collective agency and community that we see across multiple nodes of media consumption.

Singing along has aided songs to gain wide geographic distribution and popularity. In the case of K-pop, singing along is hampered by the lack of language skills. However, a key component of K-pop’s success has been the visual – music videos that feature beautiful stars and trending fashions – and, perhaps most of all, a prominent dance component. Fans from around the world have been moved to interact with K-pop by substituting dancing along for singing along. The barrier to participation is low – cover dancers benefit from a song and choreography created by other artists. While some dancers only practice, without uploading videos or performing, others attract viewers to private subscriptions for access to full videos and interactions with the dancers. Fans perform dances for crowds, upload them online, enter cover contests, and even develop new careers. They can become quite well known, their videos drawing millions of views. Just like the K-pop idols, the Korean government supports these activities. This chapter outlines the variety of cover dance activities, investigates the motivations of cover dancers using interview data, discusses the implications for cultural diplomacy, outlines the economy of K-pop cover dance, and touches on the ways it contributes to learning about Korea.

This chapter derives from empirical research I conducted in Texas, California, and beyond, the first to investigate Mexican American fan relationships with country music. My Mexican American fan-interlocutors illuminated distinctive practices of country loving, in two senses of the phrase. Contrary to critical takes on patriotic US country songs as exclusionary, these listeners described cherished bicultural, binational engagements with them. Pointing to the Mexican origins of cowboys and the US Southwest and to country music’s expression of “Mexican values,” fans also attested not that country music affords belonging but that it belongs to Mexican American listeners, and they reckoned their love for it inevitable. Relatedly, I consider country music’s life as border culture, shaped by continual exchange at the 2,000-mile US-Mexico contact zone. Elaborating the hybridic, migratory, transcultural bases of music often termed “quintessentially American,” I argue that it is even more quintessentially American than has been imagined.

This chapter tackles how the concept of British nationhood was mediated by small, portable material goods in the century that followed the 1707 Acts of Union. While existing narratives of nation-making have focused on the political, religious, and military forging of Britishness, this chapter instead considers how Britain’s intersecting industrial and commercial transformations offered opportunities for manufacturers and retailers to commoditize nationhood through material culture. This chapter restores the materiality of nationhood to historical narratives of patriotism to show that the commercialization of Britishness, through small things, provided a means of manufacturing and molding an affective form of British identity. This chapter focuses specifically on how the figurehead of Britannia signalled a material patriotism that could be worn, carried, and displayed at moments of national importance. Her image, as warrior queen, mother of the nation, and colonial pioneer, was replicated on fans, jewelry, and other decorative objects to formulate miniature material articulations of a national rhetoric. These small items held chronometric and affective significance for their owners and were complex signals of both transient and more enduring feelings of patriotism.

Chapter 4 explores the foundation of extended business activities and tie-ins in the 1920s and 1930s that developed around Felix the Cat and Mickey Mouse. The term ‘animated properties’ acknowledges that these popular fictional representations were attributed subjecthood and, as such, came alive outside the celluloid frame. Felix and Mickey were pre-packaged as family-friendly viewing. Doll effigies and other merchandise literally took the characters into the heart of the home. The chapter discusses the ambivalent role of intellectual property registration in stabilising the character merchandising trade, exploring what was particularly distinctive about the Disney Corporation’s industrial system of production and distribution. This successful strategy was an organisational one with cultural ambitions, engaging franchise managers and licensees in educating children and the trade about the protocols of consumption attached to play. The Disney brand came to signify child-friendly cultural content of all kinds, with trust in the name secured by the deployment of a new legal creation, the phenomenon of ‘world rights’ exploited by a new managerial class, Disney Enterprises’ agents.