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This book highlights both the diversity of perspectives and approaches to Arctic research and the inherent interdisciplinary nature of studying and understanding this incomparable region. The chapters are divided into four liberally-defined sections to provide space for dynamic interpretation and dialogue in search of sustainable solutions to the issues facing the Arctic. From governance to technology, scientific research to social systems, human health to economic development, the authors discuss fundamental questions while looking toward the Arctic's future. Whether the reader is well-versed in the history and complexity of Arctic policy or looking for an insightful introduction to the vast world of Arctic research, everyone will find answers that lead to new questions and even more discoveries in these pages, laying the foundation for tomorrow's discussion on the future of the Arctic. The Arctic's unique geographic and political characteristics pose questions for the international community, indigenous peoples, and economic interests not easily answered through traditional concepts. To that end, the Arctic Summer College has been engaging leading professionals, students, scholars, and policy makers from across the globe to exchange ideas and support further investigation into the Arctic. A joint venture between Ecologic Institute US and Ecologic Institute Berlin (Germany), the College participates at the annual Arctic Circle Assembly in Reykjavik, Iceland, and continues to be at the forefront of international collaboration in this critical area of economic, political, environmental, and humanitarian development.
THE SPEAKER'S HANDBOOK, 10E, International Edition is an excellent textbook for students in a public speaking course, as well as a practical reference for the independent speaker. Its thorough coverage addresses the public speaking process, including planning, listening, and presentation aids, yet each topic can stand alone, giving readers a convenient reference even when they don't want to read the entire text. Forward-thinking new coauthor David Bodary joins Jo Sprague and Doug Stuart in THE SPEAKER'S HANDBOOK, 10E, International Edition to engage students in active learning beyond the classroom.
Social media has made charts, infographics and diagrams ubiquitous-and easier to share than ever. While such visualisations can better inform us, they can also deceive by displaying incomplete or inaccurate data, suggesting misleading patterns-or misinform by being poorly designed. Many of us are ill equipped to interpret the visuals that politicians, journalists, advertisers and even employers present each day, enabling bad actors to easily manipulate visuals to promote their own agendas. Public conversations are increasingly driven by numbers and to make sense of them, we must be able to decode and use visual information. By examining contemporary examples ranging from election-result infographics to global GDP maps and box-office record charts, How Charts Lie teaches us how to do just that.
Documentary film can encompass anything from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov's artful Soviet propaganda piece Man with a Movie Camera to Luc Jacquet's heart-tugging wildlife epic March of the Penguins. In this concise, crisply written guide, Patricia Aufderheide takes readers along the diverse paths of documentary history and charts the lively, often fierce debates among filmmakers and scholars about the best ways to represent reality and to tell the truths worth telling. Beginning with an overview of the central issues of documentary filmmaking-its definitions and purposes, its forms and founders-Aufderheide focuses on several of its key subgenres, including public affairs films, government propaganda (particularly the works produced during World War II), historical documentaries, and nature films. Her thematic approach allows readers to enter the subject matter through the kinds of films that first attracted them to documentaries, and it permits her to make connections between eras, as well as revealing the ongoing nature of documentary's core controversies involving objectivity, advocacy, and bias. Interwoven throughout are discussions of the ethical and practical considerations that arise with every aspect of documentary production. A particularly useful feature of the book is an appended list of "100 great documentaries" that anyone with a serious interest in the genre should see. Drawing on the author's four decades of experience as a film scholar and critic, this book is the perfect introduction not just for teachers and students but also for all thoughtful filmgoers and for those who aspire to make documentaries themselves. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
We are living in the 'post-truth' era - a time of alternative facts, fake news, social media echo chambers, dodgy statistics and outright lies. Caught in the middle of a tsunami of information, we are arguably more politically engaged than ever; but when politicians and the media tell us the truth, we're just not buying it. How did it come to this? And what responsibility do citizens have to check sources, to educate ourselves, and to pay for news? How do we stay reliably informed in a world where truth is supposedly a thing of the past? In Not Buying It, Charlotte Henry looks at the facts behind fake news, talking to some of the major players and key thinkers in politics and media to provide context, explanation, and, crucially, solutions. It's time to take the truth back.
In this book, Ian Taylor examines how a social movement, the anti-Iraq War movement in the UK, engaged with the media as a part of their campaigning against the invasion and occupation of Iraq. Moving beyond content analysis to draw upon interviews with locally based journalists and activists, Taylor examines how locally based anti-war groups engaged with their local press, as well as how those groups were reported on by the local press in their respective areas. In the process of exploring these ideas, the book takes on questions like: How did local journalists assess the legitimacy of the anti-war movement? How, why, and to what extent did opponents of the war pursue local press coverage? What bearing did the social composition of the movement have on the way they set about engaging with the media? How did the local press handle the controversy surrounding opposition to military action against Iraq? Media Relations of the Anti-War Movement makes a unique contribution to research on the interactions between social movements and the media and plugs a major gap in the literature on the Iraq War and the media.
The emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons Of Anarchy and the challenges these characters face in negotiating modern masculinities. From the meth-dealing but devoted family man Walter White of AMC's Breaking Bad, to the part-time basketball coach, part-time gigolo Ray Drecker of HBO's Hung, depictions of male characters perplexed by societal expectations of men and anxious about changing American masculinity have become standard across the television landscape. Engaging with a wide variety of shows, including The League, Dexter, and Nip/Tuck, among many others, Amanda D. Lotz identifies the gradual incorporation of second-wave feminism into prevailing gender norms as the catalyst for the contested masculinities on display in contemporary cable dramas. Examining the emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons of Anarchy and the challenges these characters face in negotiating modern masculinities, Lotz analyzes how these shows combine feminist approaches to fatherhood and marriage with more traditional constructions of masculine identity that emphasize men's role as providers. She explores the dynamics of close male friendships both in groups, as in Entourage and Men of a Certain Age, wherein characters test the boundaries between the homosocial and homosexual in their relationships with each other, and in the dyadic intimacy depicted in Boston Legal and Scrubs. Cable Guys provides a much needed look into the under-considered subject of how constructions of masculinity continue to evolve on television.
Exits to the Posthuman Future is media theory for a global digital society which thrives, and sometimes perishes, at the intersection of technologies of speed, distant ethics and a pervasive cultural anxiety. Arthur Kroker s incisive and insightful text presents the emerging pattern of a posthuman future: life at the tip of technologies of acceleration, drift and crash. Kroker links key concepts such as Guardian Liberalism and Obama s vision of the Just War with a striking account of culture drift as the essence of real world technoculture. He argues that contemporary society displays growing uncertainty about the ultimate ends of technological innovation and the intelligibility of the digital future. The posthuman future is elusive: is it a gathering storm of cynical abandonment, inertia, disappearance and substitution? Or else the development of a new form of critical consciousness - the posthuman imagination - as a means of comprehending the full complexity of life? Depending on which exit to the posthuman future we choose or, perhaps, which exit chooses us, Kroker argues that a very different posthuman future will likely ensue.
Among Cultures: The Challenge of Communication, Third Edition explores intercultural communication and the relationship between communication and culture, using narrative as a common and compelling thread for studying intercultural interactions. Anchored in the position that people make sense of their worlds through choosing and telling narratives to themselves and others, this text is replete with narratives and stories. Chapters address key aspects of intercultural communication, including verbal and nonverbal communication; stereotypes and bias; identity; conflict; diversity; and ethics. Using an interpretive approach to intercultural communication, the text helps students understand that although a person may appear different, his/her common sense is quite reasonable within a particular interpretive context. Resources are included to help students understand and explain the reasonableness of other cultural systems. The text includes activities for students to complete while reading, including self-assessments and nonverbal self-knowledge tests. Reflection questions within and at the end of each chapter promote thinking and discussion on each topic. With its unique approach to studying intercultural communication via real-life narratives, this text facilitates a deep understanding of the cultural aspects of communication. In providing the narratives of others, it encourages students to tell their own stories and build a strong foundation for communicating across cultures. New to the Third Edition: New chapter-"What Role Does Culture Play in Contemporary Contexts?"-explores intercultural communication as it relates to the environment, health, and technology. New sections on identity, silence, and terms of address as important communicative practices in intercultural settings. Updated sections on honorifics, key terms, social dramas and the golden approaches to ethics.
The Gender and Media Reader is an essential text for those interested in gender and media studies, its main topics, debates, and theoretical approaches. The primary objective of this collection is to expand readers? knowledge of how gender operates within media culture through engagement with foundational writings as well as more contemporary research in this field. Taking a multiperspectival approach that considers gender broadly and examines media texts alongside their production and consumption, The Gender and Media Reader enables readers? critical thinking about how gender is constructed, contested, and subverted in different sites within media culture. Along with the main introduction, individual section introductions facilitate readers? understanding of the development of gender and media studies by contextualizing the various topics, debates, and theoretical approaches that have shaped it, as well as by highlighting current trends.
This book is the first scholarly analysis that considers the specificity of situated experiences of the maternal from a variety of theoretical perspectives. From "Fertility Day" to "Family Day," the concept of motherhood has been at the center of the public debate in contemporary Italy, partly in response to the perceived crisis of the family, the economic crisis, and the crisis of national identity, provoked by the forces of globalization and migration, secularization, and the instability of labor markets. Through essays by an international cohort of established and emerging scholars, this volume aims to read these shifts in cinematic terms. How does Italian cinema represent, negotiate, and elaborate changing definitions of motherhood in narrative, formal, and stylistic terms? The essays in this volume focus on the figures of working mothers, women who opt for a child-free adulthood, single mothers, ambivalent mothers, lost mothers, or imperfect mothers, who populate contemporary screen narratives.
Contrary to the usual image of the press as cantankerous, obstinate, and ubiquitous in its search for truth, Edward Herman and Noam Chomskydepict how an underlying elite consensus largely structures all facetsof the news. They skillfully dissect the way in which the marketplace and the economics of publishing significantly shape the news. They reveal how issues are framed and topics chosen. What emerges from this pathbreaking work is an account of just how propagandistic our mass media are, and how we can learn ro read them and see their funtion in a radically new way.
This book offers the first comprehensive and in-depth exploration of the way Chinese humor fits into broader discourses on Chinese identity and modernity in an increasingly globalized world throughout the period of modern China. It brings together the expertise of scholars from a variety of disciplines - history, literature, linguistics, anthropology, sociology and the study of popular culture - to examine the many forms and modes in which political humor is expressed in modern China: films, cartoons, the visual arts, oral performances and online satire.
This project offers a critical overview of how online activities and platforms are becoming an important source for the production and promotion of women's films. Inspired by a transnational feminist framework, Maule examines blogs, websites, online services and projects related to women's filmmaking in an interrogation of the very meaning of women's cinema at the complex intersection with digital technology and globalization. It discusses women's cinema 2.0 as a resistant type of cinematic expression and brings attention to the difficulties inherent in raising and expanding visibility for women's filmic expression within a global sphere dominated by neo-liberalism and post-feminism. The author pays close attention to the challenges and contradictions involved in bringing a niche area of filmmaking and feminist discourse to the broad and diverse communities of the Internet and global media market, while also highlighting the changing forms of media and feminism.
Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.
Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, "After Art" provides a compelling and original theory of art and architecture in the age of global networks.
This book identifies and analyzes the ways in which RuPaul's Drag Race has reshaped the visibility of drag culture in the US and internationally, as well as how the program has changed understandings of reality TV. This edited volume illustrates how drag has become a significant aspect of LGBTQ experience and identity globally through RuPaul's Drag Race, and how the show has reformed a media landscape in which competition and reality itself are understood as given. Taking on lenses addressing race, ethnicity, geographical origin, cultural identity, physicality and body image, and participation in drag culture across the globe, this volume offers critical, non-traditional, and first-hand perspectives on drag culture.
This book builds upon our knowledge of the far-reaching economic, political and social effects of the Euro crisis on the European Union by providing a unique study of European identities. In particular, it considers the impact on the construction of European identities in political and media discourse in Germany, Ireland and Poland-three countries with profoundly different experiences of the crisis and never before compared in a single study. Offering an original insight into the dynamics of identity change at moments of upheaval, the author argues that political and media actors in the early stages of the crisis drew on long-standing identities in order to make sense of the crisis in the public sphere. European identity discourses are thus resilient to change but become central to legitimising and contesting bailouts and further economic integration. As such, the author challenges the commonly held view that identities change dramatically at times of crisis but argues that this very resilience helps to understand the EU's current divisions. The study of identity during the Euro crisis sheds important light on the prospects for European solidarity as well as on the future of the single currency as an identity-building project. The book will be of particular interest to students and scholars in the fields of EU politics, comparative European politics, and identity politics.
The Enchanted Screen: The Unknown History of Fairy-Tale Films
offers readers a long overdue, comprehensive look at the rich
history of fairy tales and their influence on film, complete with
the inclusion of an extensive filmography compiled by the author.
With this book, Jack Zipes not only looks at the extensive,
illustrious life of fairy tales and cinema, but he also reminds us
that, decades before Walt Disney made his mark on the genre, fairy
tales were central to the birth of cinema as a medium, as they
offered cheap, copyright-free material that could easily engage
audiences not only though their familiarity but also through their
dazzling special effects.
Histories of the book often move straight from the codex to the digital screen. Left out of that familiar account are nearly 150 years of audio recordings. Recounting the fascinating history of audio-recorded literature, Matthew Rubery traces the path of innovation from Edison's recitation of "Mary Had a Little Lamb" for his tinfoil phonograph in 1877, to the first novel-length talking books made for blinded World War I veterans, to today's billion-dollar audiobook industry. The Untold Story of the Talking Book focuses on the social impact of audiobooks, not just the technological history, in telling a story of surprising and impassioned conflicts: from controversies over which books the Library of Congress selected to become talking books--yes to Kipling, no to Flaubert--to debates about what defines a reader. Delving into the vexed relationship between spoken and printed texts, Rubery argues that storytelling can be just as engaging with the ears as with the eyes, and that audiobooks deserve to be taken seriously. They are not mere derivatives of printed books but their own form of entertainment. We have come a long way from the era of sound recorded on wax cylinders, when people imagined one day hearing entire novels on mini-phonographs tucked inside their hats. Rubery tells the untold story of this incredible evolution and, in doing so, breaks from convention by treating audiobooks as a distinctively modern art form that has profoundly influenced the way we read.
In the 1980s and 1990s, the internet became a major player in the global economy and a revolutionary component of everyday life for much of the United States and the world. It offered users new ways to relate to one another, to share their lives, and to spend their time-shopping, working, learning, and even taking political or social action. Policymakers and news media attempted-and often struggled-to make sense of the emergence and expansion of this new technology. They imagined the internet in conflicting terms: as a toy for teenagers, a national security threat, a new democratic frontier, an information superhighway, a virtual reality, and a framework for promoting globalization and revolution. Schulte maintains that contested concepts had material consequences and helped shape not just our sense of the internet, but the development of the technology itself. Cached focuses on how people imagine and relate to technology, delving into the political and cultural debates that produced the internet as a core technology able to revise economics, politics, and culture, as well as to alter lived experience. Schulte illustrates the conflicting and indirect ways in which culture and policy combined to produce this transformative technology.
From the tsunami to Hurricane Sandy, the Nepal earthquake to Syrian refugees-defining images and accounts of humanitarian crises are now often created, not by journalists but by ordinary citizens using Twitter, Facebook, YouTube, Instagram and Snapchat. But how has the use of this content-and the way it is spread by social media-altered the rituals around disaster reporting, the close, if not symbiotic, relationship between journalists and aid agencies, and the kind of crises that are covered? Drawing on more than 100 in-depth interviews with journalists and aid agency press officers, participant observations at the Guardian, BBC and Save the Children UK, as well as the ordinary people who created the words and pictures that framed these disasters, this book reveals how humanitarian disasters are covered in the 21st century - and the potential consequences for those who posted a tweet, a video or photo, without ever realising how far it would go.
Ninety-five percent of American kids have Internet access by age 11; the average number of texts a teenager sends each month is well over 3,000. More families report that technology makes life with children more challenging, not less, as parents today struggle with questions previous generations never faced: Is my thirteen-year-old responsible enough for a Facebook page? What will happen if I give my nine year-old a cell phone? In The Parent App, Lynn Schofield Clark provides what families have been sorely lacking: smart, sensitive, and effective strategies for coping with the dilemmas of digital and mobile media in modern life. Clark set about interviewing scores of mothers and fathers, identifying not only their various approaches, but how they differ according to family income. Parents in upper-income families encourage their children to use media to enhance their education and self-development and to avoid use that might distract them from goals of high achievement. Lower income families, in contrast, encourage the use of digital and mobile media in ways that are respectful, compliant toward parents, and family-focused. Each approach has its own benefits and drawbacks, and whatever the parenting style or economic bracket, parents experience anxiety about how to manage new technology. With the understanding of a parent of teens and the rigor of a social scientist, Clark tackles a host of issues, such as family communication, online predators, cyber bullying, sexting, gamer drop-outs, helicopter parenting, technological monitoring, the effectiveness of strict controls, and much more. The Parent App is more than an advice manual. As Clark admits, technology changes too rapidly for that. Rather, she puts parenting in context, exploring the meaning of media challenges and the consequences of our responses-for our lives as family members and as members of society.
In the popular imagination, archives are remote, largely obsolete institutions: either antiquated, inevitably dusty libraries or sinister repositories of personal secrets maintained by police states. Yet the archive is now a ubiquitous feature of digital life. Rather than being deleted, e-mails and other computer files are archived. Media software and cloud storage allow for the instantaneous cataloging and preservation of data, from music, photographs, and videos to personal information gathered by social media sites. In this digital landscape, the archival-oriented media theories of Wolfgang Ernst are particularly relevant. Digital Memory and the Archive, the first English-language collection of the German media theorist's work, brings together essays that present Ernst's controversial materialist approach to media theory and history. His insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping contemporary culture and society. Ernst's interrelated ideas on the archive, machine time and microtemporality, and the new regimes of memory offer a new perspective on both current digital culture and the infrastructure of media historical knowledge. For Ernst, different forms of media systems-from library catalogs to sound recordings-have influenced the content and understanding of the archive and other institutions of memory. At the same time, digital archiving has become a contested site that is highly resistant to curation, thus complicating the creation and preservation of cultural memory and history.
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