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Television has conditioned us to tolerate visually entertaining material measured out in spoonfuls of time, to the detriment of rational public discourse and reasoned public affairs. In this eloquent, persuasive book, Neil Postman alerts us to the real and present dangers of this state of affairs, and offers compelling suggestions as to how to withstand the media onslaught. Before we hand over politics, education, religion, and journalism to the show business demands of the television age, we must recognize the ways in which the media shape our lives and the ways we can, in turn, shape them to serve out highest goals.
Approved by AQA and created especially for the new AQA Media Studies A Level and Year 1 and AS specifications being taught from September 2017, this student book offers high quality support you can trust. // Written by experienced Media Studies teachers and examiners. // Knowledge, understanding and skills are developed through the textbook and presented in a highly accessible way. // Includes practical approaches to developing skills, and contemporary case studies of media industries throughout. // The Non-Examined Assessment is supported with a chapter containing clear, student-focused guidance. // Contains practical suggestions for effective ways to deliver the subject content. // Designed for students of all ability levels with extension questions and tasks to stretch and challenge the most able learners.
Social Media Abyss plunges into the paradoxical condition of the new digital normal versus a lived state of emergency. There is a heightened, post-Snowden awareness; we know we are under surveillance but we click, share, rank and remix with a perverse indifference to technologies of capture and cultures of fear. Despite the incursion into privacy by companies like Facebook, Google and Amazon, social media use continues to be a daily habit with shrinking gadgets now an integral part of our busy lives. We are thrown between addiction anxiety and subliminal, obsessive use. Where does art, culture and criticism venture when the digital vanishes into the background? Geert Lovink strides into the frenzied social media debate with Social Media Abyss - the fifth volume of his ongoing investigation into critical internet culture. He examines the symbiotic yet problematic relation between networks and social movements, and further develops the notion of organized networks. Lovink doesn't just submit to the empty soul of 24/7 communication but rather provides the reader with radical alternatives. Selfie culture is one of many Lovink's topics, along with the internet obsession of American writer Jonathan Franzen, the internet in Uganda, the aesthetics of Anonymous and an anatomy of the Bitcoin religion. Will monetization through cybercurrencies and crowdfunding contribute to a redistribution of wealth or further widen the gap between rich and poor? In this age of the free, how a revenue model of the 99% be collectively designed? Welcome back to the Social Question.
The impact of digital technologies on music has been overwhelming: since the commercialisation of these technologies in the early 1980s, both the practice of music and thinking about it have changed almost beyond all recognition. From the rise of digital music making to digital dissemination, these changes have attracted considerable academic attention across disciplines,within, but also beyond, established areas of academic musical research. Through chapters by scholars at the forefront of research and shorter 'personal takes' from knowledgeable practitioners in the field, this Companion brings the relationship between digital technology and musical culture alive by considering both theory and practice. It provides a comprehensive and balanced introduction to the place of music within digital culture as a whole, with recurring themes and topics that include music and the Internet, social networking and participatory culture, music recommendation systems, virtuality, posthumanism, surveillance, copyright, and new business models for music production.
Where have emoji come from? Why are they so popular? What do they tell us about the technology-enhanced state of modern society? Far from simply being an amusing set of colourful little symbols, emoji are in the front line of a revolution in the way we communicate. As a form of global, image-based communication, they're a perfect example of the ingenuity and creativity at the heart of human interaction. But they're also a parable for the way that consumerism now permeates all parts of our daily existence, taking a controlling interest even in the language we use; and of how technology is becoming ever more entangled in our everyday lives. So how will this split-identity affect the way that online communication develops? Are emoji ushering in a bold new era of empathy and emotional engagement on the internet? Or are they a first sign that we're handing over the future of human interaction to the machines?
I want to show what denialism seeks to prevent; the exposure of dark desire. It is only when we look directly at this darkness that we can truly grasp why it is so unspeakable.' The Holocaust never happened. The planet isn't warming. Vaccines harm children. There is no such thing as AIDS. The Earth is flat. Denialism comes in many forms, often dressed in the garb of scholarship or research. It's certainly insidious and pernicious. Climate change denialists have built well-funded institutions and lobbying groups to counter action against global warming. Holocaust deniers have harried historians and abused survivors. AIDS denialists have prevented treatment programmes in Africa. All this is bad enough, but what if, as Keith Kahn-Harris asks, it actually cloaks much darker, unspeakable, desires? If denialists could speak from the heart, what would we hear? Kahn-Harris sets out not to unpick denialists' arguments, but to investigate what lies behind them. The conclusions he reaches are shocking and uncomfortable. In a world of `fake news' and `post-truth', are the denialists about to secure victory?
An essential guide to recognizing bogus numbers and misleading data Numbers are often intimidating, confusing, and even deliberately deceptive--especially when they are really big. The media loves to report on millions, billions, and trillions, but frequently makes basic mistakes or presents such numbers in misleading ways. And misunderstanding numbers can have serious consequences, since they can deceive us in many of our most important decisions, including how to vote, what to buy, and whether to make a financial investment. In this short, accessible, enlightening, and entertaining book, leading computer scientist Brian Kernighan teaches anyone--even diehard math-phobes--how to demystify the numbers that assault us every day. With examples drawn from a rich variety of sources, including journalism, advertising, and politics, Kernighan demonstrates how numbers can mislead and misrepresent. In chapters covering big numbers, units, dimensions, and more, he lays bare everything from deceptive graphs to speciously precise numbers. And he shows how anyone--using a few basic ideas and lots of shortcuts--can easily learn to recognize common mistakes, determine whether numbers are credible, and make their own sensible estimates when needed. Giving you the simple tools you need to avoid being fooled by dubious numbers, Millions, Billions, Zillions is an essential survival guide for a world drowning in big--and often bad--data.
This is the dramatic story of how a noted tech venture capitalist, an early mentor to Mark Zuckerberg and investor in his company, woke up to the serious damage Facebook was doing to our society and set out to try to stop it.
If you had told Roger McNamee three years ago that he would soon be devoting himself to stopping Facebook from destroying democracy, he would have howled with laughter. He had mentored many tech leaders in his illustrious career as an investor, but few things had made him prouder, or been better for his fund's bottom line, than his early service to Mark Zuckerberg. Still a large shareholder in Facebook, he had every good reason to stay on the bright side. Until he simply couldn't.
Zucked is McNamee's intimate reckoning with the catastrophic failure of the head of one of the world's most powerful companies to face up to the damage he is doing. It's a story that begins with a series of rude awakenings. First there is the author's dawning realization that the platform is being manipulated by some very bad actors. Then there is the even more unsettling realization that Zuckerberg and Sheryl Sandberg are unable or unwilling to share his concerns, polite as they may be to his face.
And then comes Brexit and the election of Donald Trump, and the emergence of one horrific piece of news after another about the malign ends to which the Facebook platform has been put. To McNamee's shock, Facebook's leaders still duck and dissemble, viewing the matter as a public relations problem. Now thoroughly alienated, McNamee digs into the issue, and fortuitously meets up with some fellow travellers who share his concerns, and help him sharpen its focus. Soon he and a dream team of Silicon Valley technologists are charging into the fray, to raise consciousness about the existential threat of Facebook, and the persuasion architecture of the attention economy more broadly – to our public health and to our political order.
Zucked is both an enthralling personal narrative and a masterful explication of the forces that have conspired to place us all on the horns of this dilemma. This is the story of a company and its leadership, but it's also a larger tale of a business sector unmoored from normal constraints, at a moment of political and cultural crisis, the worst possible time to be given new tools for summoning the darker angels of our nature and whipping them into a frenzy. This is a wise, hard-hitting, and urgently necessary account that crystallizes the issue definitively for the rest of us.
"Cinema brings the industrial revolution to the eye," writes
Jonathan Beller, "and engages spectators in increasingly
dematerialized processes of social production." In his
groundbreaking critical study, cinema is the paradigmatic example
of how the act of looking has been construed by capital as
"productive labor." Through an examination of cinema over the
course of the twentieth century, Beller establishes on both
theoretical and historical grounds the process of the emergent
capitalization of perception. This process, he says, underpins the
current global economy.
Exam board: OCR Level: A-level Subject: Media Studies First teaching: September 2017 First exams: Summer 2018 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 1, alongside practice questions and assessment guidance. Produced in partnership with OCR, this book: - Concisely covers all aspects of 'News' and 'Media Language and Representation' - 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
In the tradition of great cultural figures like Marshall McLuhan and Neil Postman, New York Times chief television critic James Poniewozik traces the history of television and mass media from the early 1980s to today, and demonstrates how a "volcanic, camera- hogging antihero" merged with America's most powerful medium to become our forty-fifth president. Beginning where Postman left off, Audience of One weaves together two compelling stories. The first charts the seismic evolution of television from a monolithic mass medium, with three mainstream networks, into today's fractious confederation of "spite-and-insult" media subcultures. The second examines Donald Trump himself, who took advantage of these historic changes to constantly reinvent himself: from boastful cartoon zillionaire; to 1990s self-parodic sitcom fixture; to The Apprentice-reality-TV star; and, finally, to Twitter-mad, culture-warring demagogue. A trenchant, often slyly hilarious, work, Audience of One provides an eye- opening history of American media and a sobering reflection of the raucous, "gorillas-are always-fighting" culture we've now become.
'Macdonald zeros in on the slipperiness of factuality, offering an array of case studies from the worlds of history, commerce and – of course – politics.' New York Times
True or false? It’s rarely that simple.
There is always more than one truth in every story. Eating meat is nutritious but it’s also damaging to the environment. The Internet disseminates knowledge but it also spreads hatred. As communicators, we select the truths that are most useful to our agenda.
We can select truths constructively to inspire nations, encourage children, and drive progressive change. Or we can select truths that give a false impression of reality, misleading people without actually lying. Others can do the same, motivating or deceiving us with the truth.
In Truth, communications strategy expert Hector Macdonald explores how truth is used and abused in politics, business, the media and everyday life. Combining great storytelling with practical takeaways and a litany of fascinating, funny and insightful case studies, Truth is a chilling and engaging read about how profoundly our mindsets and actions are influenced by the truths that those around us choose to tell.
For fans of Factfulness, A Field Guide to Lies and Statistics and The Art of Thinking Clearly, a fascinating dive into the many ways in which ‘competing truths’ shape our opinions, behaviours and beliefs.
Exam Board: Pearson Edexcel Academic Level: BTEC National Subject: Creative Digital Media Production First teaching: September 2016 First Exams: Summer 2017 For all four of the externally assessed units 1, 3, 5 and 8. Builds confidence with scaffolded practice questions. Unguided questions that allow students to test their own knowledge and skills in advance of assessment. Clear unit-by-unit correspondence between this Workbook and the Revision Guide and ActiveBook.
Fountain-Pens - The Super-Pen for Our Super-Men Ladies! Learn To Drive! Your Country Needs Women Drivers! Do you drink German water? When Britain declared war on Germany in 1914, companies wasted no time in seizing the commercial opportunities presented by the conflict. There was no radio or television. The only way in which the British public could get war news was through newspapers and magazines, many of which recorded rising readerships. Advertising became a new science of sales, growing increasingly sophisticated both in visual terms and in its psychological approach. This collection of pictorial advertisements from the Great War reveals how advertisers were given the opportunity to create new markets for their products and how advertising reflected social change during the course of the conflict. It covers a wide range of products, including trench coats, motor-cycles, gramophones, cigarettes and invalid carriages, all bringing an insight into the preoccupations, aspirations and necessities of life between 1914 and 1918. Many advertisements were aimed at women, be it for guard-dogs to protect them while their husbands were away, or soap and skin cream for `beauty on duty'. At the same time, men's tailoring evolved to suit new conditions. Aquascutum advertised `Officers' Waterproof Trench Coats' and one officer, writing in the Times in December 1914, advised others to leave their swords behind but to take their Burberry coat. Sandwiched between the formality of the Victorian era and the hedonism of the 1920s, these charged images provide unexpected sources of historical information, affording an intimate glimpse into the emotional life of the nation during the First World War.
This collection of 12 original essays is a concerted attempt to examine representations of India in the 19th-century media. It offers analyses of a representative sampling of contemporary media publications produced in India as well as in Britain between 1840 and 1900. The result aims to contribute to ongoing analyses of the complex cultural relations between metropole and periphery in imperial systems.
30 years after its publication Marshall McLuhan's The Medium is the Massage remains his most entertaining, provocative, and piquant book. With every technological and social "advance" McLuhan's proclamation that "the media work us over completely" becomes more evident and plain. In his words, Uso pervasive are they in their personal, political, economic, aesthetic, psychological, moral, ethical and social consequences that they leave no part of us untouched, unaffected, or unaltered'. McLuhan's remarkable observation that "societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication" is undoubtedly more relevant today than ever before. With the rise of the internet and the explosion of the digital revolution there has never been a better time to revisit Marshall McLuhan.
Designed to complement the AQA Media Studies for A Level Year 1 and AS Student Book, this practical and concise Revision Guide supports students preparing for their AQA AS Media Studies assessment. / Written by an experienced Media Studies teacher and senior examiner and presented in a clear and straightforward way making it accessible and easy to use. / Contains just the right amount of detail students need to recap and revise the key content from the course. / Provides examples of detailed analysis across the nine media forms using the theoretical framework and a selection of both the targeted and in-depth CSPs. / Offers advice and guidance on approaching the various types of questions students may encounter in the exam.
How has the role of the White House press secretary changed over the years? We see these spokespeople at White House briefings, hear them quoted by reporters - but what do they really do? Whom do they really serve: the president, or the press? In his latest book, former Associated Press journalist and White House reporter W. Dale Nelson provides an insightful look at what has gone on behind the scenes of the White House press podium from the 1890s to the present-day Clinton administration. Nelson draws on interviews with former press secretaries, press office records, and his own experience as a White House reporter to trace the history of the position, from its early, informal days to its present, seminal role in the Clinton administration.
"Artificial Mythologies " was first published in 1997. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Cultural critics teach us that myths are artificial. Cultural innovators use the artificial to make something new. In this exhilarating guide, Craig J. Saper takes us on an eye-opening tour of the process of cultural invention-willfully entertaining foolish, absurd, even fake, solutions as a way of reaching new perspectives on cultural problems. Saper deploys this method to reveal unsuspected connections among major cultural issues, such as urban decay, the dangers of television's power, family values, and conservative criticism of higher education.
The model Saper uses builds on the later works of the revered French cultural critic Roland Barthes. These works, Saper argues, suggest poignant, playful, and productive ways of engaging dominant methodologies and mythologies. Artificial Mythologies shows us how, by allowing the artificial-our received ideas, common responses, and cultural mythologies-full play, we can arrive at provocative new solutions. The book demonstrates that the very conceptions of media and sociocultural issues that stymie innovation can be made to serve the cause of invention.
Craig J. Saper is assistant professor in the Department of English at the University of Pennsylvania.
This crucial volume focusing on free speech, media, and law confronts complicated issues that are of interest not only to media law scholars, but to anyone concerned with the First Amendment. It questions whether freedom of speech is identical to freedom of the press and explores why the law restrains free speech for broadcast media but not for traditional print media. In dealing with the often opposing ideals of the rights of the media versus the rights of the individual, this volume tackles difficult legal and social questions of the day.
The fascinating untold story of digital cash and its creators "from experiments in the 1970s to the mania over Bitcoin and other cryptocurrencies Bitcoin may appear to be a revolutionary form of digital cash without precedent or prehistory. In fact, it is only the best-known recent experiment in a long line of similar efforts going back to the 1970s. But the story behind cryptocurrencies like Bitcoin and its blockchain technology has largely been untold "until now. In Digital Cash, Finn Brunton reveals how technological utopians and political radicals created experimental money to bring about their visions of the future: protecting privacy or bringing down governments, preparing for apocalypse or launching a civilization of innovation and abundance that would make its creators immortal. The incredible story of the pioneers of cryptocurrency takes us from autonomous zones on the high seas to the world (TM)s most valuable dump, from bank runs to idea coupons, from time travelers in a San Francisco bar to the pattern securing every twenty-dollar bill, and from marketplaces for dangerous secrets to a tank of frozen heads awaiting revival in the far future. Along the way, Digital Cash explores the hard questions and challenges that these innovators faced: How do we learn to trust and use different kinds of money? What makes digital objects valuable? How does currency prove itself as real to us? What would it take to make a digital equivalent to cash, something that could be created but not forged, exchanged but not copied, and which reveals nothing about its users? Filled with marvelous characters, stories, and ideas, Digital Cash is an engaging and accessible account of the strange origins and remarkable technologies behind today (TM)s cryptocurrency explosion.
In this major work, informed by materials from several disciplines and theoretical orientations, the author develops a distinctive new account of the theory of ideology and relates it to the analysis of culture and mass communication in modern societies. In the two centuries since is first appeared in France, the concept of ideology has undergone many transformations. It has been twisted, reformulated, recast, and finally filtered back into the everyday language of social and political life. Although there is much that is misleading and erroneous in the traditions of ideology, the author shows that it still defines a terrain of analysis that remains central to contemporary social sciences and continues to be the site of lively theoretical debate. The key to his analysis is what he terms the "mediazation" of the culture-the general process by which the transmission of symbolic forms becomes increasingly reliant on the technical and institutional apparatuses of the media industries. Building on the work of Geertz and others, the author asserts that symbolic forms are embedded in such structured social contexts as power relations, forms of conflict, and inequalities in the distribution of resources, and that any discussion of mass communication must embrace its political as well as epistemological content.
This book examines how Western photographic practice has been used as a tool for creating Eurocentric and violent visual regimes, and demands that we recognise and disrupt the ingrained racist ideologies that have tainted photography since its inception in 1839. Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence.
This book focuses on how everyday media such as Facebook, iTunes and Google can be understood in new ways for the 21st century through ideas of convergence. Key chapters explore the development of the internet, the rise of social media and the new opportunities for audiences to create, collaborate upon and share their own media.
This key textbook provides a comprehensive and up-to-date account of developments in international communication worldwide. Taking a comparative approach to the major theories of global media, Terry Flew looks at the rise of global media production networks and the emergence of 'media cities', multiculturalism, and the question of a global media culture. This engaging book raises the question of whether we are now in a 'post-global' age, and discusses whether there is a stable global communications order, or instead a stage of increased competition among digital and traditional media, and between the US and emergent powers such as China. Drawing on a wide range of perspectives, and written by a renowned author, this is an essential introduction for undergraduate and postgraduate students of media studies, communication studies and cultural studies, and anyone interested in the study of media and globalization.
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