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"The Revolution Will Not Be Televised" is a powerful film about the charismatic and controversial Venezuelan president Hugo Chavez. It charts the attempt to overthrow him in April 2002 and provides an eyewitness account of his extraordinary return to power some forty-eight hours later. This book, which includes a DVD of this electrifying documentary, not only sheds light on contemporary politics in Latin America but also focuses on important issues in documentary filmmaking.
In recent years we have witnessed a rising tension between the open architecture of the Internet and legal restrictions for online activities. The impact of digital recording technologies and distributed file sharing systems has forever changed the expectations of everyday users with regard to digital information. At the same time, however, U.S. Copyright Law has shown a decided trend toward more restrictions over what we are able to do with digital materials. As a result, a gap has emerged between the reality of copyright law and the social reality of our everyday activities. Through an analysis of the competing rhetorical frameworks about copyright regulation in a digital age, this book shows how the stories told by active parties in the debate shape our cultural understanding of what is and is not acceptable in the use of copyrighted works on digital networks. Reyman posits recent legal developments as sites of conflict between competing value systems in our culture: one of control, relying heavily on comparisons of intellectual property to physical property, and emphasizing ownership, theft, and piracy, and the other a value of community, implementing new concepts such as that of an intellectual "commons," and emphasizing exchange, collaboration, and responsibility to a public good. Reyman argues that the rhetoric of the digital copyright debate, namely the rhetorical positioning of technology as destructive to creative and intellectual production, has profound implications for the future of digital culture.
This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema." It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles," including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; "spaces," including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private "erotic space" of films from South Korea and Thailand, and the persistence of the family unit in the urban spaces of Asian big cities in many Asian films; and "concepts" such as Pan-Asianism, Orientalism, Nationalism and Third Cinema. The rise of Asian nations on the world stage has been coupled with a growing interest, both inside and outside Asia, of Asian culture, of which film is increasingly an indispensable component this book provides a rich, insightful overview of what exactly constitutes Asian Cinema.
This is the first ever international comparative study of the mythologies which popular TV series in Czechoslovakia/Czech Republic, Hungary, Poland and Romania -- made before and after the fall of communism -- disseminate in their societies. Popular television broadcasting has had an enormous impact on the general publics beliefs and values, East and West. From the outset, the communist systems of Central and East Europe used entertainment television programming to instil the regimes values in the viewer. And indeed popular television still exerts a major impact on these fairly homogeneous societies. Up to date research about current social values and factors in the formation of individual and collective identity has considerable strategic importance for decision making both in Britain and in the EU. If we are to understand how the populations of the Central and East European countries might react in the current relatively unstable political and economic situation, it is necessary to understand the indigenous political, social and cultural discourse in these countries. Comparison of samples of popular television from the 1970s, 1980s and 2000s provides strategically significant material about how these societies think and rationalise, and what their thinking is rooted in. The study proceeds from the premise that popular television series provide a fertile ground of investigation as mass media reflects and shapes social and cultural values.
For scholars and students in environmental communications, journalism, rhetoric, PR, mass communication and other related areas.
Exam board: OCR Level: A Level Subject: Media Studies First teaching: September 2017 First exams: Summer 2018 (AS); Summer 2019 (A Level) Build, reinforce and assess the knowledge and skills required for OCR A Level Media Studies; this accessible guide provides full coverage of the content in Component 2, alongside practice questions and assessment guidance. Endorsed by OCR, this book: - Concisely covers all aspects of 'Media Industries and Audiences' and 'Long Form Television Drama' - Increases knowledge of the theoretical framework and contexts surrounding the set media products, with clear explanations and relevant examples - Develops the skills of critical analysis, reflection and evaluation that students need in order to use, apply and debate academic ideas and arguments - Ensures understanding of specialist terminology by defining the key terms within the specification - Helps students achieve their best under the new assessment requirements with practice questions, study advice and assessment support
Already in the late nineteenth century, electricians, physicists, and telegraph technicians dreamed of inventing televisual communication apparatuses that would "see" by electricity as a means of extending human perception. In Seeing by Electricity Doron Galili traces the early history of television, from fantastical image transmission devices initially imagined in the 1870s such as the Telectroscope, the Phantoscope, and the Distant Seer to the emergence of broadcast television in the 1930s. Galili examines how televisual technologies were understood in relation to film at different cultural moments-whether as a perfection of cinema, a threat to the Hollywood industry, or an alternative medium for avant-garde experimentation. Highlighting points of overlap and divergence in the histories of television and cinema, Galili demonstrates that the intermedial relationship between the two media did not start with their economic and institutional rivalry of the late 1940s but rather goes back to their very origins. In so doing, he brings film studies and television studies together in ways that advance contemporary debates in media theory.
This work explores the way in which telenovelas (TV serial dramas) give voice to contemporary and historical Argentinian social and political issues. Telenovelas have multiple layers of socio-cultural message -- local as well as global -- and are invariably laden with appealing drama and emotion, and sometimes comedy. The discussion focuses on how telenovelas reflect society's perception of, and adjustment toward, issues of globalisation. They are a means of portraying how individuals and families rationalize and incorporate rapid social and economic changes. The book explores how telenovelas might offer a subversive interpretation of reality; or provide a channel of dialogue with the government's political aims. The author challenges the assumption that they are merely a reflection of historical, political and social circumstance. One of the many telenovela examples addressed in this book is whether the serial Padre Coraje constructs a parallel between the current Kirchner government and that of Juan Peron, fifty years earlier. The serial explores the two leaders' relationship with the Church and implicitly presents President Kirchner as Peron's successor. Explaining telenovelas as cultural texts (they are not soap operas) provides the primary basis for this study, backed by Argentinian newspaper articles and secondary sources on Latin American history, culture and economy, as well as TV and cinema studies. The result is a more profound and nuanced interpretation than hitherto of Argentinian telenovelas. Analysis enables identification of the links between the serials' storylines and contemporary political and social events. These popular culture texts bring new meaning to the Argentinian historical narrative, and for TV viewers puts the processes and effects of economic and social globalisation on a local multi-cultural level perspective.
Scholarly studies of Chinese culture, history and society, both within and outside of China, generally pay little attention to leisure, entertainment and amusement, though it has long been known that this aspect of life gives a deep understanding of the psyche and soul, and the hopes and fears, of a person. Leisure is a less coerced-upon, mandatory human conduct than work; certainly leisurely conduct is more voluntary, expressive and creative. But when seen as human behaviour, leisure and entertainment cannot be separated from history, heritage, ethnicity, the community, family and kin, rituals and customs thus a collective activity and its constraints on the person.
This book examines a variety of genre of Chinese entertainment, from singing clubs, Cantonese opera and film, to Chinese rock and tourism. Though formally voluntary, Chinese entertainment, when entangled with ethnicity, heritage and history, is ironically a site of both enjoyment and struggle, both pleasure and suffering.
This book was originally published as a special issue of Visual Anthropology.
Winner of the 2013 SCMS Best Edited Collection Award For decades, television scholars have viewed global television through the lens of cultural imperialism, focusing primarily on programs produced by US and UK markets and exported to foreign markets. Global Television Formats revolutionizes television studies by de-provincializing its approach to media globalization. It re-examines dominant approaches and their legacies of global/local and center/periphery, and offers new directions for understanding television's contemporary incarnations. The chapters in this collection take up the format phenomena from around the globe, including the Middle East, Western and Eastern Europe, South and West Africa, South and East Asia, Australia and New Zealand, North America, South America, and the Caribbean. Contributors address both little known examples and massive global hits ranging from the Idol franchise around the world, to telenovelas, dance competitions, sports programming, reality TV, quiz shows, sitcoms and more. Looking to global television formats as vital for various cultural meanings, relationships, and structures, this collection shows how formats can further our understanding of television and the culture of globalization at large.
In this expansive historical synthesis, Richard Butsch integrates social, economic, and political history to offer a comprehensive and cohesive examination of screen media and screen culture globally - from film and television to computers and smart phones - as they have evolved through the twentieth and twenty-first centuries. Drawing on an enormous trove of research on the USA, Britain, France, Egypt, West Africa, India, China, and other nations, Butsch tells the stories of how media have developed in these nations and what global forces linked them. He assesses the global ebb and flow of media hegemony and the cultural differences in audiences' use of media. Comparisons across time and space reveal two linked developments: the rise and fall of American cultural hegemony, and the consistency among audiences from different countries in the way they incorporate screen entertainments into their own cultures. Screen Culture offers a masterful, integrated global history that invites media scholars to see this landscape in a new light. Deeply engaging, the book is also suitable for students and interested general readers.
Controversies in Media Ethics offers students, instructors and professionals multiple perspectives on media ethics issues presenting vast "gray areas" and few, if any, easy answers. This third edition includes a wide range of subjects, and demonstrates a willingness to tackle the problems raised by new technologies, new media, new politics and new economics. The core of the text is formed by 14 chapters, each of which deals with a particular problem or likelihood of ethical dilemma, presented as different points of view on the topic in question, as argued by two or more contributing authors. The 15th chapter is a collection of "mini-chapters," allowing students to discern first-hand how to deal with ethical problems. Contributing authors John A. Armstrong, Peter J. Gade, Julianne H. Newton, Kim Sheehan, and Jane B. Singer provide additional voices and perspectives on various topics under discussion. This edition has been thoroughly updated to provide: discussions of issues reflecting the breadth and depth of the media spectrum numerous real-world examples broad discussion of confidentiality and other timely topics A Companion Website (www.routledge.com/textbooks/9780415963329) supplies resources for both students and instructors. You can also join the Controversies community on Facebook: http://www.facebook.com/CME3rd Developed for use in media ethics courses, Controversies in Media Ethics provides up-to-date discussions and analysis of ethical situations across a variety of media, including issues dealing with the Internet and new media. It provides a unique consideration of ethical concerns, and serves as provocative reading for all media students.
Visualizing Law in the Age of the Digital Baroque explores the profound impact that visual digital technologies are having on the practice, theory, and teaching of law. Today, lawyers, judges, and lay jurors face a vast array of visual evidence and visual argument. From videos documenting injuries, crimes, and accidents, to computer displays of their digital simulation, increasingly, the search for fact-based justice inside the courtroom is becoming an offshoot of visual meaning- making'. But when law migrates to the screen it lives there as other images do, motivating belief and judgment on the basis of visual delight and unconscious fantasies and desires as well as actualities. Law as image also reflects current cultural anxieties concerning not only the truth of the image, but also the mimetic capacity itself, the human ability to represent reality. What is real, and what is simulation? This is the hallmark of the baroque, when dreams fold into dreams, like an all too vivid video game or immersion in a seemingly endless matrix of digital appearances. As the reality of fact-based justice recedes, laws proliferate within a field of uncertainty and longing. Left unchecked, this condition of ontological and ethical uneasiness threatens the legitimacy of law's claim to power. To meet this crisis, Visualizing Law in the Age of the Digital Baroque offers both a cultural diagnostic, identifying the contemporary cultural conditions in which law lives as a digital image on the screen, and a normative response, arguing for an affirmative, post-positivist jurisprudential paradigm that is adequate to the challenge these conditions present.
Looking at established and new media, this book explores the places that we use media and the possibilities this gives to mobile communication. Packed with examples and fresh research findings, this book is for all students of modern media.
A vivid look at how India has developed the idea of entrepreneurial citizens as leaders mobilizing society and how people try to live that promise Can entrepreneurs develop a nation, serve the poor, and pursue creative freedom, all while generating economic value? In Chasing Innovation, Lilly Irani shows the contradictions that arise as designers, engineers, and businesspeople frame development and governance as opportunities to innovate. Irani documents the rise of "entrepreneurial citizenship" in India over the past seventy years, demonstrating how a global ethos of development through design has come to shape state policy, economic investment, and the middle class in one of the world's fastest-growing nations. Drawing on her own professional experience as a Silicon Valley designer and nearly a decade of fieldwork following a Delhi design studio, Irani vividly chronicles the practices and mindsets that hold up professional design as the answer to the challenges of a country of more than one billion people, most of whom are poor. While discussions of entrepreneurial citizenship promise that Indian children can grow up to lead a nation aspiring to uplift the poor, in reality, social, economic, and political structures constrain whose enterprise, which hopes, and which needs can be seen as worthy of investment. In the process, Irani warns, powerful investors, philanthropies, and companies exploit citizens' social relations, empathy, and political hope in the quest to generate economic value. Irani argues that the move to recast social change as innovation, with innovators as heroes, frames others-craftspeople, workers, and activists-as of lower value, or even dangers to entrepreneurial forms of development. With meticulous historical context and compelling stories, Chasing Innovation lays bare how long-standing power hierarchies such as class, caste, language, and colonialism continue to shape opportunity in a world where good ideas supposedly rule all.
'This is the media and society text that critical scholars have been waiting for'. - Professor Mark Andrejevic, Pomona College This book unpacks the role of the media in social, cultural and political contexts and encourages you to reflect on the power relationships that are formed as a result. Structured around the three cornerstones of media studies; production, content and participation, this is an ideal introduction to your studies in media, culture and society. The book: Evaluates recent developments in media production, industries and platforms brought about the emergence of interactive media technologies. Examines the shifting relationship between media production and consumption instigated by the rise of social and mobile media, recasting consumption as 'participation'. Explores the construction of texts and meanings via media representations, consumer culture and popular culture, as well as the relationship between politics and public relations. Assesses the debates around the creative and cultural labour involved in meaning-making. Includes a companion website featuring exercise and discussion questions, links to relevant blogs and web material, lists of further reading and free access to key journal articles.
Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe.
This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering.
This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.
Dave Saunders? spirited introduction to documentary covers its history, cultural context and development, and the approaches, controversies and functions pertaining to non-fiction filmmaking. Saunders examines the many methods by which documentary conveys meaning, whilst exploring its differing societal purposes.
After a historical consideration of international documentary production, the author examines the impact of recent technological developments on the production, distribution and viewing of non-fiction. In addition, he explores the increasingly hazy distinctions between factual and dramatic formats, discussing ?reality television?, the ?docu-drama?, and less orthodox approaches including animated and fantastical representations of reality.
Documentary encompasses a broad range of academic discourse around non-fiction filmmaking, introducing readers to the key filmmakers, major scholars, central debates and critical ideas relating to the form. This wide-ranging guidebook features global releases from the 1920s through to 2009, and includes films such as:
In 1992 W. J. T. Mitchell argued for a "pictorial turn" in the humanities, registering a renewed interest in and prevalence of pictures and images in what had been understood as an age of simulation, or an increasingly extensive and diverse visual culture. However, in what is often characterized as a society of the "spectacle" we still do not know exactly what pictures or images are, what their relation to language is, how they operate on observers and the world, how their history is to be understood, and what is to be done with or about them.
In this seminal collection of essays, the first to be devoted to the "pictorial turn," theorists from across the humanities and social sciences, representing the disciplines of art history, philosophy, geography, media studies, visual studies and anthropology, are brought together with a paleontologist and practising artists to consider amongst other things the relation between pictures and images, the power of landscape, the nature of political images, the status of images in the natural sciences, the "life" of images, and the pictorial uncanny. With these topics in mind, picture theory and iconology exceed in scope the objects of visual culture conventionally understood.
This book was published as a special issue of Culture, Theory and Critique.
Scroungers, spongers, parasites ... These are just are some of the terms that are typically used, with increasing frequency, to describe the most vulnerable in our society, whether they be the sick, the disabled, or the unemployed. Long a popular scapegoat for all manner of social ills, under austerity we've seen hostility towards benefit claimants reach new levels of hysteria, with the 'undeserving poor' blamed for everything from crime to even rising levels of child abuse. While the tabloid press has played its role in fuelling this hysteria, the proliferation of social media has added a disturbing new dimension to this process, spreading and reinforcing scare stories, while normalising the perception of poverty as a form of 'deviancy' that runs contrary to the neoliberal agenda. Provocative and illuminating, Scroungers explores and analyses the ways in which the poor are portrayed both in print and online, placing these attitudes in a wider breakdown of social trust and community cohesion.
It's a fact that companies so far have only scratched the surface of what can be achieved with social media.
Whatever continent, industry, company size, current degree of social media adoption or your job title, the purpose of this book is to inspire you to see how you can raise the bar further to reap new rewards. It will give you the tools to make a difference to your organisation's social media strategy development and delivery going forward.
In addition it will also give you more intellectual support and confidence to discuss social media on a higher level with peers, inspire colleagues or negotiate and create support for increased investments from your leadership team.
In "The Social Media MBA" editor Christer Holloman has crowd sourced 15 thought leaders from 4 continents to offer an exceptional educational programme written for experienced social media professionals just like you.
In addition, learn through cases studies produced by the social leaders at these brands:
ARM by Kerry McGuire Balanza - Director of Strategic Marketing
Aviva by Jan Gooding - Global Brand Director
Dell by Stuart Handley - Communications Director
Evans Cycles by Will Lockie - Head of Social Media
GlaxoSmithKlein (Ribena) by Verity Clifton - Brand Marketing Manager
Kodak by Madlen Nicolaus - Social Media Manager
Phillips by Hans Notenboom - Global Director B2B Online
Sage by Cath Sheldon - Online PR Specialist
There is more, connect with the co-authors and other readers by joining "The Social Media MBA Alumi" group, visit http: //www.socialmedia-mba.com or search or the group on LinkedIn to stay updated on the latest, ask questions or join the discussions.
This exciting and comprehensive text takes students, trainees and professionals into the world of the modern-day newsroom, covering both key techniques and theory in detail. The second edition has been revised and updated to include all the technical, regulatory and theoretical advances in recent broadcast custom and practice and is influenced by newsrooms around the country. Main features: Complete coverage of all the key skills: news gathering, interviewing, writing and story-telling, live/location-reporting, online, editing, graphics and presentation. Expert advice and contributions from leading broadcast journalists from the BBC, ITV and Sky News. The Essential Guide, a section on how to get a job, the law and an up-to-date glossary of broadcasting terms. Workshops and Exercises, which provides the opportunity to practise key skills. Case Study, A Closer Look and Thinkpiece boxes help put the theory into context. Remember and Tip boxes summarise key concepts and offer guidance. A DVD demonstrating filming techniques and editing ideas. New for the second edition: Greater emphasis on online elements of broadcast journalism and the role of social media in news gathering. A focus on the interactive nature of the contemporary news process - how to find user-generated content, empower audiences and engage listeners and viewers. The key skills required for students taking the new NCTJ Broadcast Journalism exams. Ideal for students on journalism courses at all levels, this text is also useful for professionals and trainees working in broadcast, print and other media, and those looking at broadcast journalism in the wider context of media studies.
This volume explores the construction of an ethics for news media that is global in reach and impact. Essays by international media ethicists provide leading theoretical perspectives on major issues and applies the ideas to specific countries, contexts and problems, addressing such questions as: Are there universal values in journalism? How would a global media ethics do justice to the cultural, political, and economic differences around the world? Can a global ethic based on universal principles allow for diversity of media systems and cultural values? What should be the principles and norms of practice of global media ethics? The result is a rich source of ethical thought and analysis on questions raised by contemporary global media.
First published in 1980, More Bad News is the Second Volume in the research findings of the Glasgow University Media Group. It develops the analytic findings and methods of the first volume Bad News through a series of Case Studies of Television News Coverage, and argues that much of what passes as balanced and factual news reporting is produced from a highly partial viewpoint.
Focusing on the British economy in crisis, and its thematic linkage with the Social Contract during the first four months of 1975, the book deals with three main levels of activity: the story, the language and the visuals. As the book unpacks each level of routine news coverage a picture emerges which has the surface appearance of neutrality and balance but is in fact highly partial and restricted
"Rojek's argument is a psychological one, although his message is political: global events build on people's needs to feel empowered and jointly engaged in the pursuit of a higher purpose; they allow a break from daily routines, provide an illusion of intimacy and social membership, and create a sense of self-validation and personal gratification. In short, participation in such events makes us feel good. At the same time, the real effect of global events seems to be the maintenance of global inequality and social injustice, as well as huge profits for the organizations involved in planning, commercializing and securing these happenings. In sketching out this palliative function of global events from the perspective of people's needs on the one hand, and unveiling their puppet masters backstage on the other, Rojek's book presents a compelling account of the role of organized events in modern society." - Organization Studies Events dominate our screens, our lives, and increasingly global geopolitics. Analysis of events and their management has remained rooted in leisure and management studies - until now. This break-through book provides an introduction to event management, while also situating events in questions of power and social control.
Rojek powerfully argues that events are essential elements in corporate-state partnerships of 'invisible government' that have revived the romance of charity as to form illusory communities, while cloaking power imbalances and social inequalities. Events are moving politics from the old idea of 'the personal is political' to the new, more seductive notion that 'representation is resistance'. Wielding rich case studies from the World Cup and the Olympics to Live Aid, Burning Man and Mardi Gras, Rojek presents a dazzlingly original account of communication power, social ordering and control. It is essential reading in media & communication studies and across the social sciences.
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