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Books > Reference & Interdisciplinary > Communication studies > Media studies
What is a medium? If Nietzsche was right in claiming that "our
writing equipment takes part in the forming of our thoughts," that
media help us "think," and if different media allow for different
ways of thinking, then the "body" of the respective medium in
question, its materiality, shapes and influences the range and
direction of how media make us think. Shouldn't we consequently
speak of informed matter and of materialized information? Launching
Bloomsbury's Thinking Media series, Media Matter introduces readers
to the nascent field of media-philosophy. Contributors urge readers
to re-adjust their ideas of Media Studies, by both extending the
understanding of "medium" in such a way as to include a concept of
materiality that also includes "non-human" transmitters (elements
such as water, earth, fire, air) and by understanding media not
only in the context of cultural or discursive systems or
apparatuses, relays, transistors, hardware or "discourse networks,"
but more inclusively, in terms of a "media ecology." Beginning with
more general essays on media and then focusing on particular themes
(neuroplasticity, photography, sculpture and music), especially in
relation to film, Herzogenrath and contributors redefine the
concept of "medium" in order to think through media, rather than
about them.
Ghettoes, Tramps, and Welfare Queens: Down & Out on the Silver
Screen explores how American movies have portrayed poor and
homeless people from the silent era to today. It provides a novel
kind of guide to social policy, exploring how ideas about poor and
homeless people have been reflected in popular culture and
evaluating those images against the historical and contemporary
reality. Richly illustrated and examining nearly 300 American-made
films released between 1902 and 2015, Ghettoes, Tramps, and Welfare
Queens finds and describes representations of poor and homeless
people and the places they have inhabited throughout the
century-long history of U.S. cinema. It moves beyond the merely
descriptive to deliberate whether cinematic representations of
homelessness and poverty changed over time, and if there are
patterns to be discerned. Ultimately, the text offers a preliminary
response to a handful of harder questions about causation and
consequence: Why are these portrayals as they are? Where do they
come from? Are they a reflection of American attitudes and policies
toward marginalized populations, or do they help create them? What
does this all mean for politics and policymaking? Of interest to
movie buffs and film scholars, cultural critics and historians,
policy analysts, and those curious to know more about homelessness
and American poverty, Ghettoes, Tramps, and Welfare Queens is a
unique window into American politics, history, policy, and culture
- it is an entertaining and enlightening journey.
Moral Panics in the Contemporary World represents the best current
theoretical and empirical work on the topic, taken from the
international conference on moral panics held at Brunel University.
The range of contributors, from established scholars to emerging
ones in the field, and from a working journalist as well, helps to
cover a wide range of moral panics, both old and new, and extend
the geographical scope of moral panic analysis to previously
underrepresented areas. Designed from the outset to comprise a
coherent and integrated set of viewpoints which share a common
engagement with critically exploring moral panics in the
contemporary world, it contains case studies instantly recognisable
and familiar to a student readership (drugs, alcohol, sexual abuse
and racism). The collection brings a fresh approach to analysis and
argument by testing and extending the concept of moral panic and
analyzing a range of topics and geographical contexts, accurately
reflecting the state-of-the-art moral panics research today.
For the inaugural book in our Critical Adventures in New Media
series, Douglas Kellner elaborates upon his well known theory which
explores how media spectacle can be used as a key to interpreting
contemporary culture and politics. Grounded in both cultural and
communication theory, Kellner argues that politics, war, news and
information, media events (like terrorist attacks or royal
weddings), and now democratic uprisings, are currently organized
around media spectacles, and demonstrates how and why this has
occurred. Rooting the discussions within key events of 2011 -
including the war in Libya, the Arab Uprisings, the wedding of
William Windsor to Kate Middleton, the killing of Osama bin Laden,
and the Occupy movements - The Time of the Spectacle makes a highly
relevant contribution to the field of media and communication
studies. It offers a fresh perspective on the theme of contemporary
media spectacle and politics by adopting an approach that is based
around critical social and cultural theory. This series gives
students a strong critical grounding from which to examine new
media.
Hipsters have always used clothing, hairstyle, gesture, and slang
to mark their distance from consensus culture, yet it is music that
has always been the privileged means of cultural disaffiliation,
the royal road to hip. Hipness in postwar America became an
indelible part of the nation's intellectual and cultural landscape,
and during the past half century, hip sensibility has structured
self-understanding and self-representation, thought and art, in
various recognizable ways. Although hipness is a famously elusive
and changeable quality, what remains recognizable throughout its
history in American intellectual life is a particular conception of
the individual's alienation from society-alienation due not to any
specific political wrong but to something more radical, a clash of
perception and consciousness. The dominant culture thus constitutes
a system bent on foreclosing the creativity, self-awareness, and
self-expression by which people might find satisfaction in their
lives. The hipster's project is to imagine this system and define
himself against it; his task is to resist being stamped in its
uniform, squarish mold. Culture then becomes the primary medium of
hip resistance rather than political action as such, and this
resistance is manifested in aesthetic creation, be that artworks or
the very self. Music has stood consistently at the center of the
evolving and alienated hipster's self-structuring: every hip
subculture at least tags along with some kind of music (as the
musically ungifted Beats did with jazz), and for many subcultures
music is their raison d'etre. In Dig, author Phil Ford argues that
hipness is in fact wedded to music at an altogether deeper level.
In hip culture it is sound itself, and the faculty of hearing, that
is the privileged part of the sensory experience. Ford's discussion
of songs and albums in context of the social and political world
illustrates how hip intellectuals conceived of sound as a way of
challenging meaning - that which is cognitive and abstract,
timeless and placeless - with experience - that which is embodied,
concrete and anchored in place and time. Through Charlie Parker's
"Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of
a Thin Man," and a string of other lucid and illuminating examples,
Ford shows why and how music became a central facet of hipness and
the counterculture. Shedding new light on an elusive and enigmatic
culture, Dig is essential reading for students and scholars of
popular music and culture, as well as anyone fascinated by the
counterculture movement of the mid-twentieth-century.
This unique text addresses the gap between journalism studies,
which have tended to focus on national and international news, and
the fact that most journalism is practised at the local level,
where people live, work, play and feel most 'at home'. Providing a
rich overview of the role and place of local media in society, Hess
and Waller demonstrate that, in this changing digital era, the
local journalist must not only specialize in niche 'place-based'
news, but also have a clear understanding of how their locality and
its people 'fit' in the context of a globalized world. Equipping
readers with a nuanced and well-rounded understanding of the field
today, this is an essential resource for students of journalism,
media and communication studies, as well as for practising and
aspiring journalists.
Culture is dependent upon intertextuality to fuel the consumption
and production of new media. The notion of intertextuality has gone
through many iterations, but what remains constant is its stalwart
application to bring to light what audiences value through the
marriages of disparate ideology and references. Videogames, in
particular, have a longstanding tradition of weaving texts together
in multimedia formats that interact directly with players.
Contemporary Research on Intertextuality in Video Games brings
together game scholars to analyze the impact of video games through
the lenses of transmediality, intermediality, hypertextuality,
architextuality, and paratextuality. Unique in its endeavor, this
publication discusses the vast web of interconnected texts that
feed into digital games and their players. This book is essential
reading for game theorists, designers, sociologists, and
researchers in the fields of communication sciences, literature,
and media studies.
On the Fringes of Literature and Digital Media Culture offers a
polyphonic account of mutual interpenetrations of literature and
new media. Shifting its focus from the personal to the communal and
back again, the volume addresses such individual experiences as
immersion and emotional reading, offers insights into collective
processes of commercialisation and consumption of new media
products and explores the experience and mechanisms of
interactivity, convergence culture and participatory culture.
Crucially, the volume also shows convincingly that, though without
doubt global, digital culture and new media have their varied,
specifically local facets and manifestations shaped by national
contingencies. The interplay of the common subtext and local colour
is discussed by the contributors from Eastern Europe and the
Western world. Contributors are: Justyna Fruzinska, Dirk de Geest,
Maciej Jakubowiak, Michael Joyce, Kinga Kasperek, Barbara
Kaszowska-Wandor, Aleksandra Malecka, Piotr Marecki, Lukasz
Mirocha, Aleksandra Mochocka, Emilya Ohar, Mariusz Pisarski, Anna
Slosarz, Dawn Stobbart, Jean Webb, Indre Zakeviciene, Agata
Zarzycka.
Broadcasting was born just as the British empire reached its
greatest territorial extent, and matured while that empire began to
unravel. Radio and television offered contemporaries the beguiling
prospect that new technologies of mass communication might
compensate for British imperial decline. In Broadcasting Empire,
Simon J. Potter shows how, from the 1920s, the BBC used
broadcasting to unite audiences at home with the British settler
diaspora in Canada, Australia, New Zealand, and South Africa. High
culture, royal ceremonial, sport, and even comedy were harnessed to
this end, particularly on the BBC Empire Service, the predecessor
of today's World Service. Belatedly, during the 1950s, the BBC also
began to consider the role of broadcasting in Africa and Asia, as a
means to encourage 'development' and to combat resistance to
continued colonial rule. However, during the 1960s, as
decolonization entered its final, accelerated phase, the BBC staged
its own imperial retreat.
This is the first full-length, scholarly study to examine both the
home and overseas aspects of the BBC's imperial mission. Drawing on
new archival evidence, it demonstrates how the BBC's domestic and
imperial roles, while seemingly distinct, in fact exerted a
powerful influence over one another. Broadcasting Empire makes an
important contribution to our understanding of the transnational
history of broadcasting, emphasising geopolitical rivalries and
tensions between British and American attempts to exert influence
on the world's radio and television systems.
Gilbert Patten, writing as Burt L. Standish, made a career of
generating serialized twenty-thousand-word stories featuring his
fictional creation Frank Merriwell, a student athlete at Yale
University who inspired others to emulate his example of manly
boyhood. Patten and his publisher, Street and Smith, initially had
only a general idea about what would constitute Merriwell's
adventures and who would want to read about them when they
introduced the hero in the dime novel Tip Top Weekly in1896, but
over the years what took shape was a story line that capitalized on
middle-class fears about the insidious influence of modern life on
the nation's boys. Merriwell came to symbolize the Progressive Era
debate about how sport and school made boys into men. The saga
featured the attractive Merriwell distinguishing between "good" and
"bad" girls and focused on his squeaky-clean adventures in physical
development and mentorship.By the serial's conclusion, Merriwell
had opened a school for "weak and wayward boys" that made him into
a figure who taught readers how to approximate his example. In
Frank Merriwell and the Fiction of All-American Boyhood,
Andersontreats Tip Top Weekly as a historical artifact,
supplementing his reading of its text, illustrations, reader
letters, and advertisements with his use of editorial
correspondence, memoirs, trade journals, and legal documents.
Anderson blends social and cultural history, with the history of
business, gender, and sport, along with a general examination of
childhood and youth in this fascinating study of how a fictional
character was used to promote a homogeneous "normal" American
boyhood rooted in an assumed pecking order of class, race, and
gender.
This volume advances the data-based study of multimodal artefacts
and performances by showcasing methods and results from the latest
endeavors in empirical multimodal research, representing a vibrant
international and interdisciplinary research community. The
collated chapters identify and seek to inspire novel, mixed-method
approaches to investigate meaning-making mechanisms in current
communicative artifacts, designs, and contexts; while attending to
their immersive, aesthetic, and ideological dimensions. Each
contribution details innovative aspects of empirical multimodality
research, offering insights into challenges evolving from
quantitative approaches, particular corpus work, results from
eye-tracking and psychological experiments, and analyses of dynamic
interactive experiences. The approaches and results presented
foreground the inherent multidisciplinary nature and implications
of multimodality, renegotiating concepts across linguistics, media
studies, (social) semiotics, game studies, and design. With this,
the volume will inform both current and future developments in
theory, methods, and transdisciplinary contexts and become a
landmark reference for anyone interested in the empirical study of
multimodality.
Global Media Ethics is the first comprehensive cross-cultural
exploration of the conceptual and practical issues facing media
ethics in a global world. A team of leading journalism experts
investigate the impact of major global trends on responsible
journalism. * The first full-length, truly global textbook on media
ethics * Explores how current global changes in media promote and
inhibit responsible journalism * Includes relevant and timely
ethical discussions based on major trends in journalism and global
media * Questions existing frameworks in Media Ethics in light of
the impact of global media * Contributors are leading experts in
global journalism and communication
With the wealth of information that you can find on the internet
today, it is easy to find answers and details quickly by entering a
simple query into a search engine. While this easy access to
information is convenient, it is often difficult to separate
fallacy from reality when dealing with digital sources.
Establishing and Evaluating Digital Ethos and Online Credibility
features strategies and insight on how to determine the reliability
of internet sources. Highlighting case studies and best practices
on establishing protocols when utilizing digital sources for
research, this publication is a critical reference source for
academics, students, information literacy specialists, journalists,
researchers, web designers, and writing instructors.
Traffic: Media as Infrastructures and Cultural Practices presents
texts by international media and cultural scholars that address the
relationship between symbolic and infrastructural dimensions of
media, analysing traffic in terms of media ecology, as
epistemological principle, and as (trans-)formative power.
Contributors are: Menahem Blondheim, Grant David Bollmer, Richard
Cavell, Wolf-Dieter Ernst, Norm Friesen, Elihu Katz, Peter Krapp,
Martina Leeker, Jana Mangold, John Durham Peters, Gabriele
Schabacher, Michael Steppat, Wolfgang Sutzl, Hartmut Winkler
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Entertainment Industry
- The Business of Music, Books, Movies, Tv, Radio, Internet, Video Games, Theater, Fashion, Sports, Art, Merchandising, Copyright, Trademarks & Contracts: Revised Edition
(Paperback)
Mark Vinet
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R386
Discovery Miles 3 860
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Ships in 18 - 22 working days
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Second-Generation Korean Americans and Transnational Media:
Diasporic Identifications looks at the relationship between
second-generation Korean Americans and Korean popular culture.
Specifically looking at Korean films, celebrities, and popular
media, David C. Oh combines intrapersonal processes of
identification with social identities to understand how these
individuals use Korean popular culture to define authenticity and
construct group difference and hierarchy. Oh highlights new
findings on the ways these Korean Americans construct themselves
within their youth communities. This work is a comprehensive
examination of second-generation Korean American ethnic identity,
reception of transnational media, and social uses of transnational
media.
As the global COVID-19 pandemic that broke out over two years ago
is showing signs of relenting, and the world's attention draws
towards yet another military conflict in Ukraine, the roles of
crisis communication and media research couldn't be more critical.
These roles, particularly in a post-truth and post-COVID era, call
for new knowledge and enlightenment around discourses on: the
infodemic of misinformation, information and communication rights,
the role of online social networks, critical media literacy and the
changes occuring in media and journalism ecosystems. Drawing on the
region's distinct geo-political, economic, socio-cultural and
technological contexts, COVID-19 and the Media in Sub-Saharan
Africa brings together diverse interdisciplinary and multi-country
perspectives, innovative methodologies as well rigorous theoretical
and empirical analyses. The volume helps us deconstruct COVID-19
discourses on crisis communication and media developments focusing
on three areas: Media viability, Framing and Health crisis
communication. The chapters unpack issues on marginalisation,
gender, media sustainability, credibility, priming, trust, sources,
behavioural change, mental health, (mis)information, vaccine
hesitancy and myths and more. Ultimately, this volume roots for
sustainable and quality journalism, human (information and
communication) rights, commitment to truth and efficacious (health)
crisis communication. It is an excellent resource for academics,
media industry, Journalism and media students, public health
communication specialists, policy and advocacy groups in the region
and globally.
Contributions by Phil Bevin, Blair Davis, Marc DiPaolo, Michele
Fazio, James Gifford, Kelly Kanayama, Orion Ussner Kidder,
Christina M. Knopf, Kevin Michael Scott, Andrew Alan Smith, and
Terrence R. Wandtke In comic books, superhero stories often depict
working-class characters who struggle to make ends meet, lead
fulfilling lives, and remain faithful to themselves and their own
personal code of ethics. Working-Class Comic Book Heroes: Class
Conflict and Populist Politics in Comics examines working-class
superheroes and other protagonists who populate heroic narratives
in serialized comic books. Essayists analyze and deconstruct these
figures, viewing their roles as fictional stand-ins for real-world
blue-collar characters. Informed by new working-class studies, the
book also discusses how often working-class writers and artists
created these characters. Notably Jack Kirby, a working-class
Jewish artist, created several of the most recognizable
working-class superheroes, including Captain America and the Thing.
Contributors weigh industry histories and marketing concerns as
well as the fan community's changing attitudes towards class
signifiers in superhero adventures. The often financially strapped
Spider-Man proves to be a touchstone figure in many of these
essays. Grant Morrison's Superman, Marvel's Shamrock, Alan Moore
and David Lloyd's V for Vendetta, and The Walking Dead receive
thoughtful treatment. While there have been many scholarly works
concerned with issues of race and gender in comics, this book
stands as the first to deal explicitly with issues of class,
cultural capital, and economics as its main themes.
In the literature of information science, a number of studies have
been carried out attempting to model cognitive, affective,
behavioral, and contextual factors associated with human
information seeking and retrieval. On the other hand, only a few
studies have addressed the exploration of creative thinking in
music, focusing on understanding and describing individuals'
information seeking behavior during the creative process. Trends in
Music Information Seeking, Behavior, and Retrieval for Creativity
connects theoretical concepts in information seeking and behavior
to the music creative process. This publication presents new
research, case studies, surveys, and theories related to various
aspects of information retrieval and the information seeking
behavior of diverse scholarly and professional music communities.
Music professionals, theorists, researchers, and students will find
this publication an essential resource for their professional and
research needs.
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