Parasocial Politics: Audiences, Pop Culture, and Politics. Jason Zenor, ed. Lanham, Maryland: Lexington Books, 2014. 204 pp. $80 hbk. $79.99 ebk.Originally described by Donald Horton and R. Richard Wohl in 1956, parasocial relationships are one-sided relations that consumers have with television characters. This phenomenon has been studied from an array of different perspectives with regard to different relationship types, but until now, the research had not entered the political arena. Jason Zenor's collection of work on the subject closes that gap in our knowledge.Beginning with a wonderfully stated and illustrative introduction, Zenor explains that reception studies have historically been interested in the ?role that mass media plays in determining an audience's political reality.? He then goes on to describe that in our media-saturated world, it is nearly impossible for a consumer to separate entertainment from information, and in the political landscape, such a distinction may be detrimental. Perhaps more importantly, Zenor then makes the connection between ?citizen? and ?fan?-they both follow their favorite celebrity figures carefully, endorse them to other people, measure them against each other, and ultimately reach informed conclusions and judgments. If this book needed to justify its existence, this discussion alone could do it.Here, decades of media studies, and social learning theory in particular, have demonstrated that consumers learn from the media. Learning about politics is no different. Adding the parasocial lens to this subject, Zenor explains that consumers can also form attachments to political figures. It is this phenomenon that Zenor refers to as ?parasocial politics.?As the backbone of this discussion, the book presents a collection of empirical studies that show how consumers create meaning about political issues through this unique consumer-character/political figure relationship. The studies included in the text are methodologically diverse (surveys, experiments, focus groups, mixed methods, etc.) and are divided into three sections.The first section focuses on how audiences create meaning about government and politics based on the media depictions of these institutions. For example, Zenor uses The West Wing as an artifact and looks at how consumers adhering to different political ideologies responded to the show.The second section of the collection is specifically concerned with the impact of fantasy texts on politics and culture. Entries in this section include investigations into ?Trekkies? and their level of governmental trust and the impact of Batman comics on the prevailing negative feelings toward Islam since the introduction of a Muslim superhero. …
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