This book discusses the development strategies of Chinese media convergence in the current, fast-changing communication environment. Drawing on both theoretical and empirical data and based on the author's observations, focus groups, and in-depth analyses of selected Chinese radio and TV networks, it illustrates key lessons for the maintenance and future improvement of talents, advertisement, media organization management, business development, and coping strategies. Further, it outlines a framework that helps readers to consider how to use communication strategies for the construction of media convergence in the context of China by referring to theories of international communication and political communication. Presenting research on the development strategies of Chinese media convergence, it offers a systematic study of the processes through which the Chinese radio and television industries make use of proper communication strategies to have a profound global influence.

Stunts of Late Nineteenth- Century New York: Aestheticised Precarity, Endangered Liveness examines the emergence of stunts in the media, politics, sport and art of New York at the turn of the twentieth century. This book investigates stunts in sport, media and politics, demonstrating how these risky performances tapped into anxieties and fantasies concerning work, freedom, gendered/ raced/ classed bodies and the commodifi cation of human life. Its case studies examine bridge jumping, extreme walking contests, stunt journalists such as Nellie Bly, and cycling feats including Annie Londonderry's round- the- world venture. Supported by extensive archival research and Performance Studies theorisations of precarity, liveness and surrogation, Smith theorises an under- examined form which is still prevalent in art, politics and commerce, to show what stunts reveal about value, risk and human life. Suitable for scholars and practitioners across a range of subjects, from Performance Studies to gender studies, to media studies, Stunts of Late Nineteenth- Century New York explores how stunts turned everyday precarity into a spectacle.

This book offers a critical study of Frank Herbert's Dune (1965), the world's bestselling science fiction novel. Kara Kennedy discusses the novel's exploration of politics and religion, its influential ecological messages, the focus on the human mind and consciousness, the complex nature of the archetypal hero, and the depiction of women's influence and control. In Dune, Herbert demonstrated that sophistication, complexity, and a multi-layered world with three-dimensional characters could sit comfortably within the science fiction genre. Underneath its deceptively simple storyline sits a wealth of historical and philosophical contexts and influences that make it a rich masterpiece open to multiple interpretations. Kennedy's study shows the continuing relevance of the novel in the 21st century due to its classic themes and its concerns about the future of humanity, as well as the ongoing nature of issues such as ecological disruption and conflicts over resources and religion.

This collection promises to be a cornerstone in the field of performance studies and human rights activism. By mixing scholarly chapters with artists' manifestos or "interruptions" it promotes the idea of the collective work between academia and social movements. Not only is it very timely, theoretically savvy, and well written, it also brings together scholars, activists, artists, and artivists in a very fluid, collective approach, something many of us strive to do." - Paola S. Hernandez, University of Wisconsin, USA This book charts the changing frontiers of activism in the Americas. Travelling Canada, the US, the US-Mexico border, Chile, Argentina, Brazil, Cuba, Colombia, and Indigenous territories on Turtle Island, it invites readers to identify networks, clusters, and continuities of art-activist tactics designed to exceed the event horizon of the performance protest. Essays feature Indigenous artists engaging in land-based activism and decolonial cyberactivism, grass-roots movements imagining possible futures through cross-sector alliance building, art-activists forwarding tactics of reinvention, and student groups in the throes of theatrical assembly. Artist pages, interspersed throughout the collection, serve as animated, first-person perspectives of those working on the front lines of interventionist art. Taken together, the contributions offer a vibrant picture of emergent tactics and strategies over the past decade that allow art-activists to sustain the energy and press of political resistance in the face of a whole host of rights emergencies across the Americas. Winner of the Excellence in Editing Award from the Association for Theatre in Higher Education and recipient of an Honourable Mention for the Patrick O'Neill Prize administered by the Canadian Association for Theatre Research. Project Artists:- The Great Collective Cough-In - L.M. Bogad - Le Temps d'une Soupe - ATSA - For Freedoms - Hank Willis Thomas and Eric Gottesman - Down with Self-Management! Re-Booting Ourselves as Feminist Servers - subRosa - Journey for Activism and Sustainability Escola de Ativismo - Unstoppable - micha cardenas, Patrisse Cullors, Chris Head and Edxie Betts - Listen to Black Women - Syrus Marcus Ware - Notes on Sustainable Tools - Fred Moten and Stefano Harney, with Sune Woods - The Mirror Shield Project - Cannupa Hanska Luger - The Human Billboard Project - Leah Decter, with Stop Violence Against Aboriginal Women Action Group

From the Preface: The purpose of this book is to explain the Western's popularity. While the Western itself may seem simple (it isn't quite), an explanation of its popularity cannot be; for the Western, like any myth, stands between individual human consciousness and society. If a myth is popular, it must somehow appeal to or reinforce the individuals who view it by communicating a symbolic meaning to them. This meaning must, in turn, reflect the particular social institutions and attitudes that have created and continue to nourish the myth. Thus, a myth must tell its viewers about themselves and their society. This study, which takes up the question of the Western as an American myth, will lead us into abstract structural theory as well as economic and political history. Mostly, however, it will take us into the movies, the spectacular and not-so-spectacular sagebrush of the cinema. Unlike most works of social science, the data on which my analysis is based is available to all of my readers, either at the local theater or, more likely, on the late, late show. I hope you will take the opportunity, whenever it is offered, to check my findings and test my interpretations; the effort is small and the rewards are many. And if your wife, husband, mother, or child asks you why you are wasting your time staring at Westerns on TV in the middle of the night, tell them firmly-as I often did-that you are doing research in social science.

This book develops a comprehensive understanding of the unique sound worlds of key regions in the Global South, through an auto-ethnographic method of self-reflective conversations with prominent sound practitioners from South Asia, Africa, the Middle East and Latin America. The conversations navigate various trajectories of sound practices, illuminating intricate sonic processes of listening, thinking through sounds, ideating, exposing, and performing with sound. This collection of conversations constitutes the main body of the book, including critical and scholarly commentaries on aural cultures, sound theory and production. The book builds a ground-up approach to nurturing knowledge about aural cultures and sonic aesthetics, moving beyond the Eurocentric focus of contemporary sound studies. Instead of understanding sound practices through consumption and entertainment, they are explored as complex cultural and aesthetic systems, working directly with the practitioners themselves, who largely contribute to the development of the sonic methodologies. Refocusing on the working methods of practitioners, the book reveals a tension between the West's predominant colonial-consumerist cultures, and the collective desires of practitioners to resist colonial models of listening by expressing themselves in terms of their arts and craft, and their critical faculties. Conversations with: Clarence Barlow, Sandeep Bhagwati, Rajesh K. Mehta, Sharif Sehnaoui, Ximena Alarco n Di az, Hardi Kurda, Mario de Vega, Luka Mukhavele, Khyam Allami, Cedrik Fermont, Khaled Kaddal, David Velez, Juan Duarte, Youmna Saba, Abdellah M. Hassak, Mariana Marcassa, Amanda Gutie rrez, Syma Tariq, Alma Laprida, Siamak Anvari, Mohamad Safa, Debashis Sinha, Zouheir Atbane, Constanza Bizraelli, Jatin Vidyarthi, Joseph Kamaru, Surabhi Saraf, Isuru Kumarasinghe, Hemant Sreekumar.

This book takes a journey into the new and exciting created by a the wave of Indian comedians today, described affectionately here as the New Indian Nuttahs, and looks at what these tell us about identity, "Indianness", censorship, feminism, diaspora and millennial India. It provides a unique analysis into the growing phenomenon of internet comedy and into a dimension of Indian popular culture which has long been dominated by the traditional film and television industries. Through a mixture of close textual readings of online comedy videos and interviews with content creators and consumers in India, this book provides a fresh perspective on comedy studies in its approach to a global South context from a sociocultural perspective. As a protean form of new media, this has opened up new avenues of articulation, identification and disidentification and as such, this book makes a further contribution to South Asian, communication, media & cultural studies.

This book analyses an important phase in the interlingual dubbing process of audiovisual productions: the elaboration of target language scripts for the recording studios. Written by a practitioner in the industry who is also an academic and trainer, it provides practical know-how and guidelines while adopting a scholarly, structural and methodical approach. Supported by an exemplified, analytical and theoretical framework, it is non-language specific and discusses strategies and tricks of the trade. Divided into three parts, the book provides a descriptive, practical and analytical approach to dubbing and dialogue writing. The author analyses scripts drawn from her own professional practice, including initial drafts that illustrate the various transformations of a text throughout the rewriting process. She also offers a 'backstage' perspective, from first-hand experience in recording sessions that enabled knowledge of text manipulation, studio jargon, and the dubbing post production process. This publication will provide a valuable resource for novice dubbing translators and dialogue writers, while offering practitioner insights to scholars and researchers in the field of Audiovisual Translation, Film and Media Studies.

This volume illuminates how creative representations remain sites of ongoing struggles to engage with animals in indigenous epistemologies. Traditionally imagined in relation to spiritual realms and the occult, animals have always been more than primitive symbols of human relations. Whether as animist gods, familiars, conduits to ancestors, totems, talismans, or co-creators of multispecies cosmologies, animals act as vital players in the lives of cultures. From early days in colonial contact zones through contemporary expressions in art, film, and literature, the volume's unique emphasis on Southern Africa and North America - historical loci of the greatest ranges of species and linguistic diversity - help to situate how indigenous knowledges of human-animal relations are being adapted to modern conditions of life shared across species lines.

This book is based on a mixed-method, longitudinal study of the transmission, production, and reception of Spanish- and Portuguese-language television in four global cities with expanding Latinx diasporic populations. The author tracks and analyzes the production practices of Spanish-language broadcasters, the highlights of news and cultural affairs coverage, changes in the shooting locations and sociocultural discourses of telenovelas (both imported from Latin America and domestically produced), the presence of SLTV in the national political sphere, and the modes of media access and opinions of over 400 viewers in Detroit, Los Angeles, Miami, and Madrid. The possibilities created by SLTV and PLTV for achieving a sense of enfranchisement are explored. Intended for a general, as well as academic reading audience.

*Encourages students into the profession of media production for sports, drawing on case studies and interviews with practitioners and providing careers advice for students looking to break into the industry. *This is the first book to address motion graphics in sports production and presentation so fills a niche gap in the market which sits between media production, graphic design and advertising/sports marketing. *Combines research and practice to give a holistic overview of the area and where it is going/how students can shape it.

*Encourages students into the profession of media production for sports, drawing on case studies and interviews with practitioners and providing careers advice for students looking to break into the industry. *This is the first book to address motion graphics in sports production and presentation so fills a niche gap in the market which sits between media production, graphic design and advertising/sports marketing. *Combines research and practice to give a holistic overview of the area and where it is going/how students can shape it.

This book investigates the global hub airport as an exemplar of cosmopolitan culture and space. A machine made for movement, itself perched at the crossroads of the world's incessant mobility, the airport is both a symbol of and stage for the ways in which we construct and inhabit the world today. Taking an ethnographically-inflected approach, this study brings together knowledge of the moving body from dance and performance and the study of systems of mobility within cultural and mobilities studies, in order to call attention to the kinaesthetic experience of global space. What is the choreography of the global airport? How does it perform on us. How do we perform within it? Extending thinking about contemporary cosmopolitanism and cultural identity, and the performativity of places and identities, this book is essential reading for those interested in cultural debates around globalisation, the innovative application of performance theory towards everyday experience, and interdisciplinary methodologies.

This book investigates desert islands in postwar anglophone popular culture, exploring representations in radio, print and screen advertising, magazine cartoons, cinema, video games, and comedy, drama and reality television. Drawing on Zygmunt Bauman's theory of liquid modernity, desert island texts are analysed in terms of their intersections with repressive and seductive mechanisms of power. Chapters focus on the desert island as: a conflictingly in/coherent space that characterises identity as deferred and structured by choice; a location whose 'remoteness' undermines satirical critiques of communal identity formation; a site whose ambivalent relationship with 'home' and Otherness destabilises patriarchal 'Western' subjectivity; a space bound up with mobility and instantaneity; and an expression of radical individuality and underdetermined identity. The desert island in popular culture is shown to reflect, endorse and critique a profoundly consumerist society that seduces us with promises of coherence, with the threat of repression looming if we do not conform.

This book stages an encounter between romanticism in post-war and contemporary cinema and trends in historical materialism associated with revolutionary romantic historiography. Focused primarily on British cinema and examples of Hollywood cinema with significant relationships to British and English culture and history, it is loosely configured around three key emblematic motifs - country, land, people - that are simultaneously core values and rallying cries of distinctive varieties of conservative, restitutionist and revolutionary romanticism. The book seeks to establish the continuing relevance of the revolutionary romantic critique of capitalist modernity to contemporary political concerns such as the fate of the proletariat, populism, Brexit post-nationalism, ecocide and the Anthropocene.

This is an open access book. Media industry research and EU policymaking are predominantly tailored to large (and, in the latter case, Western) European markets. This open access book addresses the specific qualities of smaller media markets, highlighting their vulnerability to global digital competition and outlining survival strategies for them. New online distribution models and new trends in the consumption of audiovisual content are limited by, and pose new challenges for, existing audiovisual business models and their legal framework in the EU. The European Commission's Digital Single Market (DSM) strategy, which was intended e.g. to remove obstacles to the cross-border distribution of audiovisual content, has triggered a heated debate on the transformation of the existing ecosystem for European screen industries. While most current discussions focus on the United States, Western Europe, and the multinational giants, this book approaches these industry trends and policy questions from the perspective of relatively small and peripheral (in terms of their population, language, cross-border cultural flows, and financial and/or symbolic capital) media markets.

This book explores the representation of London's nightlife in popular films and newspapers of the interwar period. Through a series of case-studies, it analyses how British popular media in the 1920s and 1930s displayed the capital after dark. It argues that newspapers and films were part of a common culture, which capitalized on the transgressive possibilities of the night. At the same time both media ensured that those in authority, such as the police, were always shown to ultimately be in control of the night. The first chapter of the book provides an overview of the British film and newspaper industries in the interwar period. Subsequent chapters each explore a specific aspect of London's nightlife. In turn, these chapters consider how films and newspapers of the interwar period depicted women navigating the street at night; the Metropolitan Police's involvement in nightlife; and the capital's newly built and expanded suburbs and public transport network. Finally, the book considers how newspapers and films depicted themselves and one another.

This book places a focus on the regimes of in/visibility and representation in Europe and offers an innovative perspective on the topic of global capitalism in relation to questions of race, class, gender and migration, as well as historicization of biopolitics and (de)coloniality. The aim of this volume is to revisit theories of art, new media technology, and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labor and modes of life. This book is firmly embedded in the present moment, when due to rapid and major changes on all levels of political and social reality the need for rearticulation in theoretical, artistic and political practices and rethinking of historical narratives becomes almost tangible.

This book looks closely at some of the most significant films within the field of queer Sinophone cinema. Examining queerness in films produced in the PRC, Taiwan and Hong Kong, the book merges the Sinophone with the queer, theorising both concepts as local and global, homebound as well as diasporic. Queerness in this book not only problematises the positioning of non-normative desires within the Sinophone; it also challenges Eurocentric critical perspectives on filmic representation that are tied to the idea of the binary between East/West. New Queer Sinophone Cinema will appeal to scholars in Chinese and film studies, as well as to anyone who is interested in queer Chinese cinema.

Creativity and the Performing Artist: Behind the Mask synthesizes and integrates research in the field of creativity and the performing arts. Within the performing arts there are multiple specific domains of expertise, with domain-specific demands. This book examines the psychological nature of creativity in the performing arts. The book is organized into five sections. Section I discusses different forms of performing arts, the domains and talents of performers, and the experience of creativity within performing artists. Section II explores the neurobiology of physiology of creativity and flow. Section III covers the developmental trajectory of performing artists, including early attachment, parenting, play theories, personality, motivation, and training. Section IV examines emotional regulation and psychopathology in performing artists. Section V closes with issues of burnout, injury, and rehabilitation in performing artists.

The Afterlife of Texts in Translation: Understanding the Messianic in Literature reads Walter Benjamin's and Jacques Derrida's writings on translation as suggesting that texts exist within a process of continual translation. Understanding Benjamin's and Derrida's concept of 'afterlife' as 'overliving', this book proposes that reading Benjamin's and Derrida's writings on translation in terms of their wider thought on language and history suggests that textuality itself possesses a 'messianic' quality. Developing this idea in relation to the many rewritings and translations of Don Quijote, particularly the multiple rewritings by Jorge Luis Borges, Edmund Chapman asserts that texts consist of a structure of potential for endless translation that continually promises the overcoming of language, history and textuality itself.

This book argues that hesitation as an artistic and spectatorial strategy connects various screen media texts produced in post-war Romania. The chapters draw a historical connection between films made during the state socialist decades, televised broadcasts of the 1989 Romanian revolution, and films of the new Romanian cinema. The book explores how the critical attitude of new Romanian cinema demonstrates a refusal to accept limiting, binary discourses rooted in Cold War narratives. Strausz argues that hesitation becomes an attempt to overcome restrictive populist narratives of the past and present day. By employing a performative and mobile position, audiences are encouraged to consider conflicting approaches to history and social transformation.

This book explores the concept of audience engagement from a number of complementary perspectives, including cultural value, arts marketing, co-creation and digital engagement. It offers a critical review of the existing literature on audience research and engagement, and provides an overview of established and emerging methodologies deployed to undertake research with audiences. The book focusses on the performing arts, but draws from a rich diversity of academic fields to make the case for a radically interdisciplinary approach to audience research. The book's underlying thesis is that at the heart of audience research there is a mutual exchange of value wherein audiences ideally play the role of strategic partners in the mission fulfilment of arts organisations. Illustrating how audiences have traditionally been side-lined, homogenised and vilified, it contends that the future paradigm of audience studies should be based on an engagement model, wherein audiences take their rightful place as subjects rather than objects of empirical research.

This book offers a much-needed focus on Palestine solidarity films, supplying a critical theoretical framework whose intellectual thrust is rooted in the challenges facing scholars censored for attempting to rectify and reverse the silencing of a subject matter about which much of the world would remain uninformed without cinematic and televisual mediation. Its innovative focus on Palestine solidarity films spans a selected array of works which began to emerge during the 1970s, made by directors located outside Palestine/Israel who professed support for Palestinian liberation. Visualizing the Palestinian Struggle analyzes Palestine solidarity films hailing from countries such as Canada, the United Kingdom, Egypt, Iran, Palestine/Israel, Mexico, and the United States. Visualizing the Palestinian Struggle is an effort to insist, constructively, upon a rectification and reversal of the glaring and disproportionate minimization and distortion of discourse critical of Zionism and Israeli policy in the cinematic and televisual public sphere.