At no other point in human history has technology played so vital and all pervasive a role in every day private and public life as now. Though the limitations imposed by nature were overcome right from the time when the project of modernity got introduced, yet the birth of new technologies have busted even the limits of industrial' technologies. The industrial age technologies suffered from the basic defect of 'producer-bias'. Consequently, they were cast in the top-down mould with little regard for individual customer preferences. The new information and communication technologies broke the reliance on mass-based production systems and resurrected the model of individualized production. This marked a paradigm shift in the production, distribution and consumption patterns of products being delivered by the 'smart' technologies. In the world of media, it meant the end of mass media monopolization of the global and local public spheres. The alternative voices became more strident and eye-catching with the arrival of the new media. A large number of media users migrated from the older mass mediated public sphere to the cyberspace, the new public sphere created by the new media. This migration was accompanied by the drift of the advertisers and the marketers to the new public sphere, granting it the legitimacy that it required in the attention economy of the new millennium. Regulatory regimes followed which raised their own controversies.

The internet is so central to everyday life, that it is impossible to contemplate life without it. From finding romance, to conducting business, receiving health advice, shopping, banking, and gaming, the internet opens up a world of possibilities to people across the globe. Yet for all its positive attributes, it is also an environment where we witness the very worst of human behaviour - cybercrime, election interference, fake news, and trolling being just a few examples. What is it about this unique environment that can make people behave in ways they wouldn't contemplate in real life. Understanding the psychological processes underlying and influencing the thinking, interpretation and behaviour associated with this online interconnectivity is the core premise of Cyberpsychology. The Oxford Handbook of Cyberpsychology explores a wide range of cyberpsychological processes and activities through the research and writings of some of the world's leading cyberpsychology experts. The book is divided into eight sections covering topics as varied as online research methods, self-presentation and impression management, technology across the lifespan, interaction and interactivity, online groups and communities, social media, health and technology, video gaming and cybercrime and cybersecurity. The Oxford Handbook of Cyberpsychology will be important reading for those who have only recently discovered the discipline as well as more seasoned cyberpsychology researchers and teachers.

In every field of mass communications-advertising, entertainment studies, journalism, public relations, radio-television-film, tourism, and visual reporting-professionals understand the importance of storytelling. Regardless of whether the finished product is a commercial, an in-depth investigative piece, a public service campaign, an independent documentary, a travelogue, or a collection of photographs, effective storytelling requires a combination of creativity, empathy, and expertise. Through the innovative technologies and techniques described in this textbook, students will learn how to turn passive readers and viewers into engaged and regular users. The sixteen chapters each include a brief introduction, assignments, simple-to-follow step-by-step exercises, and sources for additional information in which users will learn to produce apps, informational graphics, quick response codes, quizzes, simulations, smartphone and table icons, social media campaigns, three-dimensional pictures, and video. Students will work with the following programs: Blogger, Dreamweaver, Excel, Facebook, GeoCommons, Google Maps, Illustrator, Imgur, iMovie, Infogram, iShowU, JavaScript, JustGive, Kaywa, Kickstarter, LinkedIn, Onvert, Photoshop, Pixel Resort, QuickTime, Reddit, Second Life, SurveyMonkey, TheAppBuilder, Twitter, Vizualize, Wikipedia, Word, WordPress, and YouTube. When digital innovations are added to traditional print and screen presentations, a media user is not only allowed to interact with the information but can also physically engage with the story displayed. Giving students the tools they need to transform their storytelling in this manner is the ultimate goal of this textbook.

How is labour changing in the age of computers, the Internet, and "social media" such as Facebook, Google, YouTube and Twitter? In Digital Labour and Karl Marx, Christian Fuchs attempts to answer that question, crafting a systematic critical theorisation of labour as performed in the capitalist ICT industry. Relying on a range of global case studies--from unpaid social media prosumers or Chinese hardware assemblers at Foxconn to miners in the Democratic Republic of Congo--Fuchs sheds light on the labour costs of digital media, examining the way ICT corporations exploit human labour and the impact of this exploitation on the lives, bodies, and minds of workers.

Events have come to play an ever-growing role in marketing; by connecting products and services with experiences and vice versa, producers can create important added value. Events as a Strategic Marketing Tool, 2nd edition describes how events can be used as a strategic tool in marketing practices. Fully updated and with new case studies throughout, this second edition reviews the way organizations use events to connect with their visitors. It covers the development of the experience economy, the steps from strategy to concept, event design and touchpoints. It also considers the areas of marketing within which experiences play a role, such as branding, relationship marketing and city marketing. Concluding with a chapter on effect measurement and evaluation, and including a wealth of internationally relevant examples, the book gives a thorough insight into the way events can help reach strategic marketing goals. With coverage of a wide range of marketing areas, the book also includes content on cutting-edge topics such as neuromarketing, providing students with a comprehensive introduction to using events as part of the marketing mix. Contains numerous international examples that showcase the variety of ways that events can be used A wealth of images illustrate the theory, helping students to visualize concepts and improve understanding. This new edition provides an engaging resource for both students and professionals interested in leisure, tourism and events.

Out of the Blue is the surreal, wrenching, sometimes hilarious, and ultimately triumphant story of one woman's struggle to come to terms with depression. At the height of her career in journalism, Jan Wong's world came crashing down. A story she wrote on a school shooting sparked a violent backlash, including death threats. Her newspaper failed to stand by her, and for the first time in her life she spiraled into clinical depression. She found herself unable to write, but the paper's management thought she was feigning illness, and fired her. Her insurer rejected her claim of depression, and her publisher refused to publish this book. Out of the Blue is a memoir unlike any other. It is the surreal, wrenching, sometimes hilarious, and ultimately triumphant story of one woman's struggle to come to terms with depression.

Convergence has become a buzzword, referring on the one hand to the integration between computers, television, and mobile devices or between print, broadcast, and online media and on the other hand, the ownership of multiple content or distribution channels in media and communications. Yet while convergence among communications companies has been the major trend in the neoliberal era, the splintering of companies, de-convergence, is now gaining momentum in the communications market. As the first comprehensive attempt to analyze the wave of de-convergence of the global media system in the context of globalization, this book makes sense of those transitions by looking at global trends and how global media firms have changed and developed their business paradigm from convergence to de-convergence. Jin traces the complex relationship between media industries, culture, and globalization by exploring it in a transitional yet contextually grounded framework, employing a political economic analysis integrating empirical data analysis.

The collection is framed by two substantial new chapters: an introduction outlining Turner's current account of the transitions in media and media studies and a concluding essay discussing the shape of a critical agenda for the media and cultural studies of the future. The essays collected here chart Turner's ongoing concern with the changing relation between the media and the democratic state. Together, essays both reflect and comment upon the process of change within media studies as well as within the industries themselves.

Hailed everywhere as a brilliant biography, GONZO is a startling portrait of Hunter S. Thompson, the genius who spent a lifetime channeling his energy and insight into such landmark works as Fear and Loathing in Las Vegas--and revolutionized the art of writing. In their own words, an incredible array of stars--Sonny Barger, Jack Nicholson, Ralph Steadman, Jimmy Buffett, Anjelica Huston, Marilyn Manson, Jimmy Carter, and many more--bring into vivid focus Thompson's creative frenzies, love affairs, drug use, and, ultimately, his tragic suicide. As Thompson was fond of saying, "Buy the ticket, take the ride."
""Gonzo."..is no hagiography, and it is in its unflinching look at this singular character in American letters as fearless-if not more so-as anything Thompson ever dared write....The most comprehensive picture of Thompson so far, and...likely the best we'll ever get." --Patrick Beach, "Austin American-Statesman"
"A fond and exhilarating look back at the wild man of American journalism, put together by a couple of guys who were pretty close to him." --Billy Heller, "New York"" Post"

At its heart this book is about innovation and the innovation process. On the way, it considers aesthetics, design, creativity and the creative industries, and a number of other similar topics.
Much of the existing economic literature on innovation has taken a particularly technological or functional viewpoint as to what sort of new products and processes are to be considered innovations. One of the key points that this book highlights is that there is a type of innovation, here labelled 'soft innovation', primarily concerned with changes in products (and perhaps processes) of an aesthetic or intellectual nature, that has largely been ignored in the study of innovation prevalent in economics. Examples of innovations that, as a result of this refocusing, are here placed at the centre of the analysis include: the writing and publishing of a new book, the writing, production, and launching of a new movie, the development and launch of a new advertising promotion, the design and production of a new range of furniture, and architectural activity in the generation of new built form designs. The realisation of the existence of soft innovation means that, not only is innovation more widespread than previously considered, but that it may also take a different form than commonly considered.
Soft Innovation addresses key issues such as:
* The measurement of the rate and extent of soft innovation,
* The determinants of the rate and direction of soft innovation and its diffusion,
* The impacts of soft innovation and diffusion upon outputs, productivity, employment, firm performance, trade, and economic welfare,
* Policy, considering whether there is a rationale for government intervention in the soft innovation generation and diffusion processes, and if so what instruments can be used in such intervention?
Soft Innovation breaks new ground in the study of innovation, and will be key reading for academics and researchers of Innovation, Marketing, and Design, as well as consultants, practitioners, and policy-makers concerned with the creative industries.

Commitment to free speech is a fundamental precept of all liberal democracies. However, democracies can differ significantly when addressing the constitutionality of laws regulating certain kinds of speech. In the United States, for instance, the commitment to free speech under the First Amendment has been held by the Supreme Court to protect the public expression of the most noxious racist ideology and hence to render unconstitutional even narrow restrictions on hate speech. In contrast, governments have been accorded considerable leeway to restrict racist and other extreme expression in almost every other democracy, including Canada, the United Kingdom, and other European countries. This book considers the legal responses of various liberal democracies towards hate speech and other forms of extreme expression, and examines the following questions:
What accounts for the marked differences in attitude towards the constitutionality of hate speech regulation?
Does hate speech regulation violate the core free speech principle constitutive of democracy?
Has the traditional US position on extreme expression justifiably not found favor elsewhere?
Do values such as the commitment to equality or dignity legitimately override the right to free speech in some circumstances?
With contributions from experts in a range of disciplines, this book offers an in-depth examination of the tensions that arise between democracy's promises.

"Olav Velthuis has built a graceful, sturdy bridge across a torrent: the turbulent flow of art markets. On one side we have the supposition that art and money follow incompatible principles; on the other, the claim that markets reduce all commodities to creatures of supply and demand. By looking closely at the actual culture and social connections of art markets in New York and Amsterdam, he arrives at insight after insight into a meaning-drenched form of commerce, and by extension into the place of meanings in markets of every kind. This bridge stands firm."--Viviana A. Zelizer, author of "The Purchase of Intimacy" and "The Social Meaning of Money"

"A superb book! "Talking Prices" is the best thing I have yet to read on the way art markets-in any period-work. Written in the most fluid style, it is a pleasure to read and contains a great many juicy details that shed light on the inner workings of dealers and sellers and artists. Furthermore, it will carve out a space in the economic sociology of art that is occupied, at present, by nobody. Without question, it will leap across disciplinary boundaries, especially that huge and often ugly one between 'sociologists' and 'economists.' What tops it all off is that Velthuis is also an expert in art history and understands the aesthetic values and norms of composing art that matter not only to the artists who are selling to galleries, but also to the way in which artworks are sold and to the culture that shapes the way art markets operate. This is a major accomplishment."--Jack Amariglio, Merrimack College, coauthor of "Postmodern Moments in Modern Economics"

"A brilliant piece of work. Velthuis has taken the hardest case, and gottenout of it the best laws: about pricing, which the economist wants to read as prudence and the anthropologist wants to leave to the economist; and about high art, which the anthropologist wants to read as power and the economist wants to leave to the anthropologist. It's a brave book, and accomplishes what it ventures."--Deirdre McCloskey, University of Illinois, Chicago, author of "Knowledge and Persuasion in Economics"

Celebrities can sell anything from cars to clothing, and we are constantly fascinated by their influence over our lifestyle choices. This book makes an important contribution to legal scholarship about the laws governing the commercial appropriation of fame. Exploring the right of publicity in the US and the passing off action in the UK and Australia, David Tan demonstrates how an appreciation of the production, circulation and consumption of fame can be incorporated into a pragmatic framework to further the understanding of the laws protecting the commercial value of the celebrity personality. Using contemporary examples such as social media and appropriation art, Tan shows how present challenges for the law may be addressed using this cultural framework. This book will be of interest to intellectual property law academics, judges, practitioners and students in the US and common law jurisdictions, as well as those in the field of cultural studies.

Digitale Medien sind aus den verschiedenen Funktionsbereichen eines Unternehmens nicht mehr wegzudenken: das Marketing erfolgt zunehmend crossmedial, der Vertrieb international und auf digitalem Wege. Haufig werden digitale Medien in Unternehmen jedoch wenig systematisch, dafur aber aktionistisch eingefuhrt. Das Buch stellt viele Ansatze vor, die den Einstieg in und die Optimierung von digitalen Nutzungskonzepten und Geschaftsmodellen bei geringem Aufwand ermoglichen. Mit konkreten Anleitungen und Umsetzungsbeispielen aus der Unternehmenspraxis."

Media representations of ageing play a role in stereotype formation and even reinforce them. Encountering these stereotypes can negatively impact the self-esteem, health status, physical wellbeing and cognitive performance of older people. This international collection examines different dimensions of ageing and ageism in a range of media. Chapters include explorations of the UK media during the COVID-19 pandemic; age, gender and mental health in Ghana; advertising in Brazil; magazines in Canada; Taiwanese newspapers; comics, graphic novels and more. Bringing together leading scholars, this book critically considers differences in media portrayals and how older adults use and interact with the media.

Television has never been exclusive to the home. In Television at Work, Kit Hughes explores the forgotten history of how U.S. workplaces used television to secure industrial efficiency, support corporate expansion, and manage the hearts, minds, and bodies of twentieth century workers. Challenging our longest-held understandings of the medium, Hughes positions television at the heart of a post-Fordist reconfiguration of the American workplace revolving around dehumanized technological systems. Among other things, business and industry built private television networks to distribute programming, created complex CCTV data retrieval systems, encouraged the use of videotape for worker self-evaluation, used video cassettes for training distributed workforces, and wired cantinas for employee entertainment. In uncovering industrial television as a prolific sphere of media practice, Television at Work reveals how labor arrangements and information architectures shaped by these uses of television were foundational to the rise of the digitally mediated corporation and to a globalizing economy.

Mukiwa opens with Peter Godwin, six years old, describing the murder of his neighbor by African guerillas in 1964, pre-war Rhodesia. Godwin's parents are liberal whites, his mother a government-employed doctor, his father an engineer. Through his innocent, young eyes, the story of the beginning of the end of white rule in Africa unfolds. The memoir follows Godwin's personal journey from the eve of war in Rhodesia to his experience fighting in the civil war that he detests to his adventures as a journalist in the new state of Zimbabwe, covering the bloody return to black rule. With each transition Godwin's voice develops, from that of a boy to a young man to an adult returning to his homeland. This poignant compelling memoir describes the savage struggle between blacks and whites as the British Colonial period comes to an end, set against the vividly painted background of the mysterious world of southern Africa.

This book examines China's identity transformations with a focus on self-perceptions and their representations and communication in the mass media. By considering the internal dynamics of change, it explores the emerging multifaceted 'China brand'. With its growing economic clout, China has taken a proactive stance in shaping global economic and strategic order through ambitious programmes such as the Asian Infrastructure Investment Bank and the 'Belt and Road' initiative. However, as a developing country, China is at pains to manage its own transformations while trying to carve out an international identity. Arguably, China's unique sense of history and identities may lead to a 'contested modernity' or 'multiple modernities'; radically different from the prevalent classical theories of modernisation and convergence of industrial societies. To understand China's trajectory of future development has been a major issue in international affairs. This book is concerned with how China's hybridised identities are articulated, and intertwined with situational, institutional, and societal dynamics - and how they are interwoven with China's international outlook which converges with or diverges from China's historical assumptions and beliefs. This book will be of interest to those studying China's identity in the media; situated at the juncture of past, present, and future, and between China and the wider world. The chapters in this book were originally published in Critical Arts.

This new book offers an insightful guide into the complex tapestry of global entertainment media markets. It features analyses and case studies from leading international media scholars, who explore the causes and effects of globalization upon this ever-evolving industry. There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differences in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi. Editor Paolo Sigismondi's insightful, engaging collection presents a compelling and novel approach to the analysis of global entertainment media. World Entertainment Media: Global, Regional and Local Perspectives is an ideal starting point for students and practitioners alike looking to build a solid understanding of the global mediascape, and a great resource for instructors and scholars in global media entertainment.

This new book offers an insightful guide into the complex tapestry of global entertainment media markets. It features analyses and case studies from leading international media scholars, who explore the causes and effects of globalization upon this ever-evolving industry. There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differences in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi. Editor Paolo Sigismondi's insightful, engaging collection presents a compelling and novel approach to the analysis of global entertainment media. World Entertainment Media: Global, Regional and Local Perspectives is an ideal starting point for students and practitioners alike looking to build a solid understanding of the global mediascape, and a great resource for instructors and scholars in global media entertainment.

How did a loner destined for a niche domestic audience become one of the most famous writers alive? A rare look inside the making of the "Murakami Industry"-and a thought-provoking exploration of the role of translators and editors in the creation of global literary culture. Thirty years ago, when Haruki Murakami's works were first being translated, they were part of a series of pocket-size English-learning guides released only in Japan. Today his books can be read in fifty languages and have won prizes and sold millions of copies globally. How did a loner destined for a niche domestic audience become one of the most famous writers alive? This book tells one key part of the story. Its cast includes an expat trained in art history who never intended to become a translator; a Chinese American ex-academic who never planned to work as an editor; and other publishing professionals in New York, London, and Tokyo who together introduced a pop-inflected, unexpected Japanese voice to the wider literary world. David Karashima synthesizes research, correspondence, and interviews with dozens of individuals-including Murakami himself-to examine how countless behind-the-scenes choices over the course of many years worked to build an internationally celebrated author's persona and oeuvre. His careful look inside the making of the "Murakami Industry" uncovers larger questions: What role do translators and editors play in framing their writers' texts? What does it mean to translate and edit "for a market"? How does Japanese culture get packaged and exported for the West?

When Walt Harrington was first invited to Kentucky to hunt with his African American father-in-law and his country friends--Bobby, Lewis, and Carl--he was a jet-setting reporter for The Washington Post with a distaste for killing animals and for the men's brand of old-fashioned masculinity. But over the next 12 years, this white city slicker entered a world of life, death, nature, and manhood that came to seem not brutal or outdated but beautiful in a way his experience in Washington was not. The Everlasting Stream is the absorbing, touching, and often hilarious story of how hunting with these good ol' boys forced an enlightened man to reexamine his modern notions of guilt and responsibility, friendship and masculinity, ambition and satisfaction. In crisp prose that bring autumn mornings crackling to life, Harrington shares the lessons that led him to leave Washington. When his son turned 14, Harrington began taking him hunting too, believing that these rough-edged, whiskey-drinking men could teach his suburban boy something worthwhile about lives different from his own, the joy of small moments, and the old-fashioned belief that a man's actions mean more than his words. The Everlasting Stream is a funny, intimate, inspiring meditation on the meaning of a life well lived. CHAPTER ONE Walt recounts the first time he went shooting with his father-in-law, Alex, in rural Glasgow, Kentucky, during a Thanksgiving visit with his wife. "I lived in Washington DC, where most people I knew believed hunters were sick, violent men." His attitude toward his African-American hunting mates ("I was white, and I figured it was going to be my worry to fit in") is "condescending as hell," but it all turns around when he shoots his first rabbit, and surprises himself with the purity of his exhuberence when he calls out, "I got him!" He discusses the repulsion over having to clean his rabbit, but when his guests act similarly repulsed when he serves them rabbit dinner, he says "I think I'm going to kill some more." CHAPTER TWO He describes hunting with Alex, Bobby, Lewis and Carl in a gully half the length of football field. "Over the years I've become convinced that Alex, Bobby, Lewis, and Carl have discovered the secrets of living life well," although "the idea that these men had anything to teach me didn't come to me for many Thanksgiving vacations." He is attracted by how well they get to know a place through hunting it: "How many of us can say that about any place in our lives?" The men are like relics of a bygone era, but they eventually convinced him that he should bring his son along too. He introduces Carl and Bobby, who have retired from factory jobs--they own sixty acres together in the country. Lewis bought his own 18-wheel rig a few years ago and still hauls freight. Alex is retired and has many hobbies. The men talk in a colorful drawl about their dogs, teasing each other mercilessly. CHAPTER THREE He talks about hunting at the Old Collins Place. Every time he comes back there, he sees something for the first time. He talks about how ambitious he was as a kid, determined to make a name for himself in journalism. He meets his wife-to-be, Keran, and works thankless 70-hour weeks until he finally writes a profile of George Bush that gets him major attention, a huge raise, and freedom to cover other figures such as Jesse Jackson, Jerry Falwell, etc. CHAPTER FOUR: BOBBY'S BARN His son Matt catches a rabbit and gets a sip off the post-hunting bottle of Wild Turkey. He discusses his tough decision of taking the boy hunting for the first time when he was seven: "Really I rolled the dice. I knew that most affluent city perople would shield their sons from such rough men and gritty settings. But after my first few years of hunting I deced that the forests, fields, wind, rain moon, stars, leaves, weeds, guns, killing, cursing, drinking--and naturally the men themselves--would be good for Matt." He describes skinning and gutting a rabit--he does it without squeamishness because "it has to be done," the same way you have to clean up a kid's vomit. LAWSON BOTTOM He discusses the time it dawned on him that he had come to savor things--the Miro painting he owns, for instance-- and asks himself "I love my work but what if the day comes when I don't? What happens to all of this? What happens to me? Will I be trapped in my affluence for the rest of my life?" (The climax of his career comes when President Bush is seriously considering appointing him as his official biographer, and even invites him to a celebrity-studded dinner, but eventually Bush decides the security risk is too great. Harrington considers it a blessing in disguise, thinking about all of the quality time he would have lost with his son, etc.) THE EVERLASTING STREAM He recalls a morning of picture-perfect contentment at a place called the Everlasting Stream--"such memorable moments are like waking versions of lucid dreams. We are within them and outside them at once as they are happening." He reflects "To this day I don't believe I have ever seen men so at ease, so thoroughly enjoying one another's company." He realizes he hasn't had true friends like these since he was kid. BEHIND BC WITT'S FARM He talks about the way that moment at the Everlasting Stream has caused him to think of hunting not just as a diversion, but to think of it off and on throughout the year. Carl takes him to the four-room shack where he grew up and Harrington is shocked by how small and run-down it is. Carl says "We hunted to eat." THE SQUARE He describes being in the zone--"hunters since Socrates onward have described an ethereal hunter's state of mental and emotional clarity. What nature writer James Swan calls the Zen of hunting--- 'a state of awe and reverence, which I sthe emotional foundation for transcendence." LEWIS'S GARAGE He talks about the joys of hanging out in Lewis's garage after hunting. "I have come to love hearing the men laugh. After all the years, if I were blind I'd still know the men by their laughs." .. "Listening to the men is like watching a pinball bounce around its board. The action is impossible to predict but it isn't random. The point is to relax and lety my time with the men wash over me in the way that a Christmas midnight Mass with candles and organ and incense would wash over me as a boy."