Zijn recente werk richt zich op de snijvlakken van ras, digitale media en activisme voor raciale rechtvaardigheid. De auteur onderzoekt hoe digitale platforms hedendaagse bewegingen voor raciale rechtvaardigheid beïnvloeden en hoe deze platforms worden gevormd door raciale kwesties. Zijn perspectief op deze dynamiek biedt een uniek begrip van het huidige media- en sociale landschap. Het werk is cruciaal voor het begrijpen van de complexe relaties tussen technologie, cultuur en sociale verandering.
Black Software, for the first time, chronicles the long relationship between African Americans, computing technology, and the Internet. Through new archival sources and the voices of many of those who lived and made this history, the book centralizes African Americans' role in the Internet's creation and evolution, illuminating both the limits and possibilities for using digital technology to push for racial justice in the United States and across the globe.
Scholars, educators, health professionals, and activists from a variety of fields have struggled with one of the most significant questions of contemporary life: How do we rescue the experience of death and dying from the mire of fear, denial, and secrecy that it has been associated with for the better part of a century? In When Death Goes Pop, Charlton D. McIlwain describes a striking emerging shift in the way that death is represented in such omnipresent forms of media as television - a shift that seems to be moving the American discourse on death and dying from the private sphere to the public. The book surveys the past thirty years of death-related television programming, from daytime soaps to prime-time dramas, focusing primarily on Home Box Office's Six Feet Under and its innovative approach to the subject, and from the Sci-Fi Channel's Crossing Over to the genre of paranormal programming as a whole. This book also discusses the increasing use of multimedia and the Internet in the funeral industry and how the new technologies change the way that we remember the dead as they create and sustain what we might call a «virtual community of death».
