Korean screen cultures: interrogating cinema, TV, music and online games

elsewhere. It also seems Roquet’s argument is more of an addendum to existing works on biopower and affect rather than significantly furthering these discussions. Even so, he does draw the reader’s attention to a class of media often ignored by media critics and a cultural context that remains peripheral to English-speaking scholars. For scholars particularly interested in Japanese or East Asian media theory and history, Ambient Media is useful in its historicization of ambient media in Japan from roughly the 1970s onwards. This book may also be relevant to North American scholars by touching on U.S. specific trends that intersect with similar aesthetic and critical movements in Japan, without conflating the two contexts. Moreover, concepts the author introduces, such as ‘ambient media’, ‘ambient subjectivation’, and ‘subtractivism’, can find application in other areas, particularly for scholars interested in new and emerging media. Others may find use value in Roquet’s incorporation of music and sound theory in the book, which is in keeping with an intensified focus on the audible dimension of audiovisual media in recent years. Overall, Roquet provides a quick and informative read that has surprisingly broad application despite its narrow focus, and may appeal to readers from multiple disciplinary angles.