The power of the moving image to conjure marvelous worlds has usually been to understand it in terms of 'move magic'. On film, a fascination for enchantment and wonder has transmuted older beliefs in the supernatural into secular attractions. But this study is not about the history of special effects or a history of magic. Rather, it attempts to determine the influence and status of secular magic on television within complex modes of delivery before discovering interstices with film. Historically, the overriding concern on television has been for secular magic that informs and empowers rather than a fairytale effect that deceives and mystifies. Yet, shifting notions of the real and the uncertainty associated with the contemporary world has led to television developing many different modes that have become capable of constant hybridization. The dynamic interplay between certainty and indeterminacy is the key to understanding secular magic on television and film and exploring the interstices between them. Sexton ranges from the real-time magic of street performers, such as David Blaine, Criss Angel, and Dynamo, to Penn and Teller's comedy magic, to the hypnotic acts of Derren Brown, before finally visiting the 2006 films The Illusionist and The Prestige. Each example charts how the lack of clear distinctions between reality and illusion in modes of representation and presentation disrupt older theoretical oppositions. Secular Magic and the Moving Image not only re-evaluates questions about modes and styles but raises further questions about entertainment and how the relations between the program maker and the audience resemble those between the conjuror and spectator. By re-thinking these overlapping practices and tensions and the marking of the indeterminacy of reality on media screens, it becomes possible to revise our understanding of inter-medial relations.

Fifty years after Algerian independence, the legacy of France's Algerian past, and the ongoing complexities of the Franco-Algerian relationship, remain a key preoccupation in both countries. A central role in shaping understanding of their shared past and present is played by visual culture. This study investigates how relations between France and Algeria have been represented and contested through visual means since the outbreak of the Algerian War in 1954. It probes the contours of colonial and postcolonial visual culture in both countries, highlighting the important roles played by still and moving images when Franco-Algerian relations are imagined. Analysing a wide range of images made on both sides of the Mediterranean - from colonial picture postcards of French Algeria to contemporary representations of postcolonial Algiers - this new book is the first to trace the circulation of, and connections between, a diverse range of images and media within this field of visual culture. It shows how the visual representation of Franco-Algerian links informs our understanding both of the lived experience of postcoloniality within Europe and the Maghreb, and of wider contemporary geopolitics.

The News Untold offers an important new perspective on media narratives about poverty in Appalachia. It focuses on how small-town reporters and editors in some of the region's poorest communities decide what aspects of poverty are news, how their audiences interpret those decisions, and how those two related processes help shape broader understandings of economic need and local social responsibility. Focusing on patterns of both media creation and consumption, The News Untold shows how a lack of constructive news coverage of economic need can make it harder for the poor to voice their concerns. Critical and inclusive news coverage of poverty at the local level, Michael Clay Carey writes, can help communities start to look past old stereotypes and attitudes and encourage solutions that incorporate broader sets of community voices. Such an effort will require journalists and community leaders to reexamine some of the professional traditions and social views that often shape what news looks like in small towns.

Israeli television, currently celebrating fifty years of broadcasting, has become one of the most important content sources on the international TV drama market, when serials such as Homeland, Hostages, Fauda, Zaguory Empire and In Treatment were bought by international networks, HBO included. Offering both a textual reading and discourse analysis of contemporary Israeli television dramas, Itay Harlap adopts a case study approach in order to address production, reception and technological developments in its accounts. His premise is that the meeting point between social trends within Israeli society (primarily the rise of opposition groups to the hegemony of the Zionist-Jewish-masculine-Ashkenazi ideologies) and major changes in the medium in Israel (which are comparable to international changes that have been titled "post-TV"), led to the creation of television dramas characterized by controversial themes and complex narratives, which present identities in ways never seen before on television or in other Israeli mediums.

Critically analyzes the discursive relationship between cultural value and popular feminism in American television. While American television has long relied on a strategic foregrounding of feminist politics to promote certain programming's cultural value, Woman Up: Invoking Feminism in Quality Television is the first sustained critical analysis of the twenty-first-century resurgence of this tradition. In Woman Up, Julia Havas's central argument is that postmillennial "feminist quality television" springs from a rhetorical subversion of the (much-debated) masculine-coded "quality television"culture on the one hand and the dominance of postfeminist popular culture on the other. Postmillennial quality television culture promotes the idea of aesthetic-generic hierarchies among different types of scripted programming. Its development has facilitated evaluative academic analyses of television texts based on aesthetic merit, producing a corpus of scholarship devoted to pinpointing where value resides in shows considered worthy of discussion. Other strands of television scholarship have criticized this approach for sidestepping the gendered and classed processes of canonization informing the phenomenon. Woman Up intervenes in this debate by reevaluating such approaches and insisting that rather than further fostering or critiquing already prominent processes of canonization, there is a need to interrogate the cultural forces underlying them. Via detailed analyses of four TV programs emerging in the early period of the "feminist quality TV" trend-30 Rock (2006-13), Parks and Recreation (2009-15), The Good Wife (2009-16), and Orange Is the New Black (2013-19)-Woman Up demonstrates that such series mediate their cultural significance by combining formal aesthetic exceptionalism and a politicized rhetoric around a "problematic" postfeminism, thus linking ideals of political and aesthetic value. Woman Up will most appeal to students and scholars of cinema and media studies, feminist media studies, television studies, and cultural studies.

The Bosnian war of 1992-1995 was one of the most brutal conflicts to have erupted since the end of the Second World War. But although the war occurred in 'Europe's backyard' and received significant media coverage in the West, relatively little scholarly attention has been devoted to cultural representations of the conflict. Stephen Harper analyses how the war has been depicted in global cinema and television over the past quarter of a century. Focusing on the representation of some of the war's major themes, including humanitarian intervention, the roles of NATO and the UN, genocide, rape and ethnic cleansing, Harper explores the role of popular media culture in reflecting, reinforcing -- and sometimes contesting -- nationalist ideologies.

Public Opinion is Walter Lippmann's groundbreaking work which demonstrates how individual beliefs are swayed by stereotypes, the mass media, and political propaganda. The book opens with the notion that democracy in the age of super fast communications is obsolete. He analyses the impact of several phenomena, such as the radio and newspapers, to support his criticisms of the sociopolitical situation as it stands. He famously coins the term 'manufactured consent', for the fomenting of views which ultimately work against the interests of those who hold them. Lippmann contends that owing to the masses of information flung at the population on a daily basis, opinions regarding entire groups in society are being reduced to simple stereotypes. The actual complexity and nuance of life, Lippmann contends, is undermined by the ever-faster modes of communication appearing regularly.

In Film and Video Intermediality, Janna Houwen innovatively rewrites the concept of medium specificity in order to answer the questions "what is meant by video?" and "what is meant by film?" How are these two media (to be) understood? How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined.

Patrick Daniel is the Institute of Policy Studies' 11th S R Nathan Fellow for the Study of Singapore. This book is an edited collection of his three IPS-Nathan Lectures, delivered in February and March 2022, and includes highlights of his question-and-answer segments with our audience.Mr Daniel analyses the evolution of Singapore's legacy media from colonial times and examines how the country's unique history has shaped its media laws. In recent years, the Internet disrupted the business models of the legacy media and forced them to reinvent themselves in order to compete with big tech platforms. As for the proliferation of wilful misinformation and digital fraud around the world, the book examines whether the Internet and social media require more effective global governance. Mr Daniel concludes by looking into the future and outlining desired futures for Singapore and its legacy media.The IPS-Nathan Lecture series was launched in 2014 as part of the S R Nathan Fellowship for the Study of Singapore, named after Singapore's sixth and longest-serving president. It seeks to advance public understanding and discussion of issues of critical national interest for Singapore.

Patrick Daniel is the Institute of Policy Studies' 11th S R Nathan Fellow for the Study of Singapore. This book is an edited collection of his three IPS-Nathan Lectures, delivered in February and March 2022, and includes highlights of his question-and-answer segments with our audience.Mr Daniel analyses the evolution of Singapore's legacy media from colonial times and examines how the country's unique history has shaped its media laws. In recent years, the Internet disrupted the business models of the legacy media and forced them to reinvent themselves in order to compete with big tech platforms. As for the proliferation of wilful misinformation and digital fraud around the world, the book examines whether the Internet and social media require more effective global governance. Mr Daniel concludes by looking into the future and outlining desired futures for Singapore and its legacy media.The IPS-Nathan Lecture series was launched in 2014 as part of the S R Nathan Fellowship for the Study of Singapore, named after Singapore's sixth and longest-serving president. It seeks to advance public understanding and discussion of issues of critical national interest for Singapore.

A collaboration of political activism and participatory culture seeking to upend consumer capitalism, including interviews with The Yes Men, The Guerrilla Girls, among others. Coined in the 1980s, "culture jamming" refers to an array of tactics deployed by activists to critique, subvert, and otherwise "jam" the workings of consumer culture. Ranging from media hoaxes and advertising parodies to flash mobs and street art, these actions seek to interrupt the flow of dominant, capitalistic messages that permeate our daily lives. Employed by Occupy Wall Street protesters and the Russian feminist punk band Pussy Riot alike, culture jamming scrambles the signal, injects the unexpected, and spurs audiences to think critically and challenge the status quo. The essays, interviews, and creative work assembled in this unique volume explore the shifting contours of culture jamming by plumbing its history, mapping its transformations, testing its force, and assessing its efficacy. Revealing how culture jamming is at once playful and politically transgressive, this accessible collection explores the degree to which culture jamming has fulfilled its revolutionary aims. Featuring original essays from prominent media scholars discussing Banksy and Shepard Fairey, foundational texts such as Mark Dery's culture jamming manifesto, and artwork by and interviews with noteworthy culture jammers including the Guerrilla Girls, The Yes Men, and Reverend Billy, Culture Jamming makes a crucial contribution to our understanding of creative resistance and participatory culture.

While highlighting the prevailing role of television in Western societies, Art vs. TV maps and condenses a comprehensive history of the relationships of art and television. With a particular focus on the link between reality and representation, Francesco Spampinato analyzes video art works, installations, performances, interventions and television programs made by contemporary artists as forms of resistance to and appropriation and parody of mainstream television. The artists discussed belong to different generations: those that emerged in the 1960s in association with art movements such as Pop Art, Fluxus and Happening; and those appearing on the scene in the 1980s, whose work aimed at deconstructing media representation in line with postmodernist theories; to those arriving in the 2000s, an era in which, through reality shows and the Internet, anybody could potentially become a media personality; and finally those active in the 2010s, whose work reflects on how old media like television has definitively vaporized through the electronic highways of cyberspace. These works and phenomena elicit a tension between art and television, exposing an incongruence; an impossibility not only to converge but at the very least to open up a dialogical exchange.

For decades, the city-state of Singapore has been an international anomaly, combining an advanced and open economy with reduced civil liberties and press freedom. The book analyses the country's media system, showing how it has been structured - like the rest of the political framework - to provide maximum freedom of manoeuvre for the People's Action Party (PAP) government. Going beyond critique, the author explains how the PAP's ""freedom from the press"" model has achieved its extraordinary resilience and stability. One key factor was the PAP's early recognition that capitalism and the profit motive could be harnessed as a way to tame journalism. Second, the PAP exercised strategic self-restraint in the use of force, progressively turning to subtler means of control that were less prone to backfire on the state. Third, unlike many authoritarian regimes, the PAP remained open to ideas and change and occasional failure, this helped the PAP to consolidate its authoritarian form of electoral democracy. This volume is essential reading for those who are interested in Singapore's media and political system. Singapore's unique place on the world map of press freedom and democracy makes the book an important contribution to the comparative study of journalism and politics.

This book presents the first comprehensive analysis of the political communication elite- high-ranking journalists, editors, politicians and their communication advisors - that shapes the content and form of political messages, news, debate and decisions in modern democracies. Based on an innovative combination of elite theory and political communication studies, the book develops an integrated and comprehensive approach to elite cohesion in political communication, focusing on the extent and patterns of attitudinal consonance among media and political elites. Building on unique survey data from more than 1,500 high-ranking politicians and journalists in six European countries (Sweden, Denmark, Germany, Austria, France and Spain), the book provides unique insights into current reality of mediatized politics, and the key players shaping it.

"Annex One is an Interesting, Well-Researched and Well-Argued Book. It Deals with Pressing Matters of Great Public Interest." A.W. September 2018. Observations of In Defence of Justice - Israel And The Palestinians: The Identification Of Truth O.H. 3-9-2013. "An amazing and excellent book. Simply written producing a clear overall picture..." P.R. 3-9-2013. "Fascinating book. I thought I was well informed but the book clearly showed up my lack of knowledge..." M.S. 3-9-2013. "At long last a book which properly identifies and uses the truth against the propaganda machines of the West that seek to undermine the nation of Israel." M.A. 15-9-2013. "Only a barrister could write such a remarkable work...... The answer (to the) obvious question as Malcolm Sinclair has made clear..." W.G. 19-10-2014. "I found your book riveting, and I am sorry that it does not have a wider advertised publication, as it should. If I were in a position to do so financially, I would make sure it did. This book deserves far greater publicity."

This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video's dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of "music television".

In their first century of uninterrupted publication, newspapers reached an all-embracing readership: male and female, noble and artisan, in both town and country. Such was its impact that this seemingly ephemeral product became a collector's object. In Reading newspapers Uriel Heyd examines this vibrant new print medium and investigates its political, social and cultural implications. Adopting a comparative approach, the author traces the culture of newspaper reading in Britain and America. Previously unexplored sources such as newspaper indexes and introductions, plays, auction catalogues and a unique newspaper collection assembled and annotated by a Bostonian shopkeeper, provide invaluable access to perceptions of the press, reading practices, and the ever-changing experience of consumers. While newspapers supplied news of immediacy and relevance, their effect transcended the here and now, influencing readers' perceptions of the age in which they lived and helping to shape historical memory. But the newly found power of this media also gave rise to a certain fear of its ability to exploit or manipulate public opinion. Perceived as vehicles of enlightenment, but also viewed with suspicion, the legacy of eighteenth-century newspapers is still felt today.

Since the advent of digitization, the conceptual confusion surrounding the semantic galaxy that comprises the media and journalism universes has increased. Journalism across several media platforms provides rapidly expanding content and audience engagement that assist in enhancing the journalistic experience. Exploring Transmedia Journalism in the Digital Age provides emerging research on multimedia journalism across various platforms and formats using digital technologies. While highlighting topics, such as immersive journalism, nonfictional narratives, and design practice, this book explores the theoretical and critical approaches to journalism through the lens of various technologies and media platforms. This book is an important resource for scholars, graduate and undergraduate students, and media professionals seeking current research on media expansion and participatory journalism.

It is imperative that the 21st century population develops media literacy competence at several levels. Schools possess a crucial role in achieving these competencies and as such, teachers need to be equipped with effective methods and training. Promoting Global Competencies Through Media Literacy is an advanced reference publication featuring the latest scholarly research on transdisciplinary and transformative assessment practices from primary-level to university-level educational settings. Including coverage on a broad range of topics such as digital storytelling, virtual environment, and cross-cultural communication, this book is ideally designed for academicians, researchers, and librarians seeking current research on current trends in media literacy in educational settings.