Museums and archives all over the world digitize their collections and provide online access to heritage material. But what factors determine the content, structure and use of these online inventories? This book turns to India and Europe to answer this question. It explains how museums and archives envision, decide and conduct digitization and online dissemination. It also sheds light on born-digital, community-based archives, which have established themselves as new actors in the field. Based on anthropological fieldwork, the chapters in the book trace digital archives from technical advancements and postcolonial initiatives to programming alternatives, editing content, and active use of digital archives.

Beginning with his first film Reconstruction, released in 1970, Theo Angelopoulos's notoriously complex cinematic language has long explored Greece's contemporary history and questioned European culture and society. The Cinematic Language of Theo Angelopoulos offers a detailed study and critical discussion of the acclaimed filmmaker's cinematic aesthetics as they developed over his career, exploring different styles through which Greek and European history, identity, and loss have been visually articulated throughout his oeuvre, as well as his impact on both European and global cinema.

This fascinating volume offers an overview of the most influential and notorious media scandals, from newspaper publisher John Peter Zenger's groundbreaking 1735 trial for printing and publishing false, scandalous, malicious and seditious statements to Dr. Phil McGraW's 2008 thwarted attempt to force his television cameras inside Britney Spears' hospital room, from the attempts to ban literature by the likes of D.H. Lawrence, James Joyce, Henry Miller, and Allen Ginsberg to the excesses of gossip mongers like Walter Winchell, Hedda Hopper, Geraldo Rivera, and Matt Drudge. It delves into the tabloid press and walks through the minefields of political opinion shapers, the shouters, the muckrakers and whistleblowers.

America's obsession with scandal-and the media's boundless capacity to report and sometimes even create it-did not start with O.J. Simpson, Rush Limbaugh, or Britney Spears. It was ingrained in the fabric of our nation even before Paul Revere made his famous ride. Indeed, our media's cherished right to free expression was hard-won and is now protected by the First Amendment to the U.S. Constitution, but it comes with responsibilities and is fraught with peril. The tension between the two forces of free expression and permissible subject matter has, throughout American history, caused media scandals-public outcries, legal proceedings, denunciations, violence and, in the case of Salman Rushdie's 1988 novel "IThe Satanic Verses" deaths. The early battles by the print media-newspapers, magazines, books-over censorship, book banning, book burning, obscenity, blasphemy and libel set the groundwork for even greater battles as the media expanded into radio, television and the Internet. This fascinating volume offers an overview of the most influential and notorious media scandals, from newspaper publisher John Peter Zenger's groundbreaking 1735 trial for printing and publishing false, scandalous, malicious and seditious statements to Dr. Phil McGraW's 2008 thwarted attempt to force his television cameras inside Britney Spears' hospital room, from the attempts to ban literature by the likes of D.H. Lawrence, James Joyce, Henry Miller, and Allen Ginsberg to the excesses of gossip mongers like Walter Winchell, Hedda Hopper, Geraldo Rivera, and Matt Drudge. It delves into the tabloid press and walks through the minefields of political opinion shapers, the shouters, the muckrakers and whistleblowers.

"Media Scandals" examines this fascinating, troubled and sometimes inspiring subject from two different perspectives. First, through its recurrent themes, which reach across all media: politics; censorship; race and religion; sex and morals. The second half of the volume then examines each industry in more detail: book publishing; newspapers and magazines; radio and television, and the Internet. Augmenting this invaluable resource is a detailed timeline to help students put the wide-ranging scandals into historical perspective, and a thorough bibliography to encourage further research.

This book illuminates modern political technology, examining important technologies, companies, and people; putting recent innovations into historical context; and describing the possible future uses of technology in electoral politics. Despite a decade of political technology's celebrated triumphs-such as online fundraising of the presidential campaigns of McCain in 2000, Dean in 2003, and Obama in 2008; or the web-enabled, socially networked campaign of Obama 2008-the field of e-politics is still at an unsolidified stage. Margin of Victory: How Technologists Help Politicians Win Elections offers an unprecedented insiders' view of the fast-changing role of political technology that explains how innovations in the use of new media, software tools, data, and analytics hold yet untapped potential. Contributions from leading practitioners in this highly specialized field cover everything from political blogs to targeting mobile devices to utilizing software created specifically to manage campaigns. The book documents how political technology is still in an early stage, despite its enormous advances in recent years, and how the strategies that work today will inevitably be superseded as new technologies arrive and potential voters become less receptive to the previous campaign's tactics.

The 20th century might be accurately described as the television century. Perhaps no technological invention in recent history has so vastly affected the American public. James Roman, author of Love, Light, and a Dream: Television's Past, Present, and Future (Greenwood, 1996), traces the evolution of American television programming from its beginnings as an experimental "spinoff" of radio broadcasting to its current role as an omnipresent and, some would say, omnipotent force of media and culture. Roman provides thematic chapters on all of television's major genres, including: Westerns Medical dramas Soap operas Sitcoms Children's programs Sports broadcasting Miniseries Docudramas And Reality television An involving mixture of scholarship and nostalgia, this volume offers an intelligent examination of the many ways that American society has shaped--and been shaped by--television.

Thirty years after his death, Edward R. Murrow is still a cult figure in American broadcast journalism, and his company has achieved the distinction of standard bearer in the field of broadcast news. This examination of key CBS broadcasts and the people behind them that helped to establish the network as the prototype for excellence provides a unique perspective on the early era of broadcasting. Included are interviews with major contributors such as former CBS News presidents Fred W. Friendly and Bill Leonard. Going beyond personalities, the specific focus is on major broadcasts, from the early era up to the present-day 60 Minutes, some of which have been overlooked in spite of their formative role in helping CBS to gain its reputation in the field.

In Media in Postapartheid South Africa, author Sean Jacobs turns to media politics and the consumption of media as a way to understand recent political developments in South Africa and their relations with the African continent and the world. Jacobs looks at how mass media defi nes the physical and human geography of the society and what it means for comprehending changing notions of citizenship in postapartheid South Africa. Jacobs claims that the media have unprecedented control over the distribution of public goods, rights claims, and South Africa's integration into the global political economy in ways that were impossible under the state-controlled media that dominated the apartheid years. Jacobs takes a probing look at television commercials and the representation of South Africans, reality television shows and South African continental expansion, soap operas and postapartheid identity politics, and the internet as a space for reassertions and reconfi gurations of identity. As South Africa becomes more integrated into the global economy, Jacobs argues that local media have more weight in shaping how consumers view these products in unexpected and consequential ways.

Media pervade and saturate the world around us. From the proliferation of social media sites such as Facebook and Twitter to television, radio, newspapers, films, games and email, media is inescapable. This book, using some of Deleuze's key concepts as its starting point, offers a new systematic analysis of how media functions in our lives, and how we function through our media. While Harper and Savat take Deleuze as the starting point, they extend and define his concepts, pointing out advances made by theorists such as Marx, Mumfors, McLuhan and Williams in the attempt to answer the most Deleuzean of questions, 'what is it that media do?'

Providing a fresh reevaluation of a specific era in popular music, this book contextualizes the era in terms of both radio history and cultural analysis. "Early '70s Radio" focuses on the emergence of commercial music radio "formats", which refer to distinct musical genres aimed toward specific audiences. This formatting revolution took place in a period rife with heated politics, identity anxiety, large-scale disappointments and seemingly insoluble social problems. As industry professionals worked overtime to understand audiences and to generate formats, they also laid the groundwork for market segmentation. Audiences, meanwhile, approached these formats as safe havens wherein they could reimagine and redefine key issues of identity. A fresh and accessible exercise in audience interpretation, "Early '70s Radio" is organized according to the era's five prominent formats and analyzes each of these in relation to their targeted demographics, including Top 40, "Soft rock", Album-oriented rock, Soul and Country. The book closes by making a case for the significance of early '70s formatting in light of commercial radio today.

In January 1998 a massive ice storm descended on New York, New England, and eastern Canada. It crushed power grids from the Great Lakes to the North Atlantic, forcing thousands of people into public shelters and leaving millions of others in their homes without electricity. In this riveting book Stephen Doheny-Farina presents an insider's account of these events, describing the destruction of the electric network in his own village and the emergence of the face-to-face interactions that took its place. His stories examine the impact of electronic communications on community, illuminating the relationship between electronic and human connections and between networks and neighborhoods, and exploring why and how media portrayals of disasters can distort authentic experience. Doheny-Farina begins by discussing the disaster and tracing the origins of the storm. He then goes back two hundred years to tell how this particular electric grid was built, showing us the sacrifices people made to create the grids that (usually) connect us to one another. Today's power grid, says Doheny-Farina, has become more vulnerable than we realize, as demand begins to outstrip capacity in urban centers around the nation. His book reminds us what those grids mean-both positively and negatively-to our electronically saturated lives.

This book begins by briefly explaining learning automata (LA) models and a recently developed cellular learning automaton (CLA) named wavefront CLA. Analyzing social networks is increasingly important, so as to identify behavioral patterns in interactions among individuals and in the networks' evolution, and to develop the algorithms required for meaningful analysis. As an emerging artificial intelligence research area, learning automata (LA) has already had a significant impact in many areas of social networks. Here, the research areas related to learning and social networks are addressed from bibliometric and network analysis perspectives. In turn, the second part of the book highlights a range of LA-based applications addressing social network problems, from network sampling, community detection, link prediction, and trust management, to recommender systems and finally influence maximization. Given its scope, the book offers a valuable guide for all researchers whose work involves reinforcement learning, social networks and/or artificial intelligence.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Television news is frequently disparaged by thoughtful commentators for its preoccupation with drama and spectacle at the expense of serious, in-depth, engagement with the critical issues it covers. Whilst insisting these charges possess more than a small dose of truth, Rob Stones argues for more emphasis to be placed on strengthening the capacities of audiences. Drawing from major traditions in social thought, and on academic media analysis, Stones provides the conceptual tools for audiences to bring greater sophistication to their interpretations, developing their capacity to think across items and genres. A detailed account of an episode of the Danish political drama, Borgen, reveals the extent to which its viewers already deploy similar concepts and skills in order to follow its storylines. Stones shows how audiences can refine these skills further and demonstrates their value with respect to a wide range of current affairs texts, including: Israeli settlers on the West Bank; the Rwandan genocide; the Egyptian 'revolution'; the Obama administration's immigration reform bill; the bases of Germany's economic success; the conflict between 'red shirts' and 'yellow shirts' in Thailand; China's diplomatic relations with Burma; and scandals of mistreatment within the UK and Swedish healthcare systems. The book shows that everyone's understanding of current affairs can be significantly enhanced by social theory. It will be relevant to students of sociology, politics, media studies and journalism at all levels.

Recounts the life and career of Croatian filmmaker Rajko Grlic in the form of a lexicon of film terms tied to anecdotes spanning Grlic's life. "I read a lot this year. Old, new, borrowed, blue. This was the best. The paradox of reading something so avidly that you can't put it down and then I got to the last 20 pages slowing down to a snail's pace and reading so slowly so that it wouldn't be over so quickly."-Mike Downey, European Film Academy From his post-Nazi-era childhood in Yugoslavia to his college years during the 1968 invasion of Prague, the Yugoslav dissolution wars, and his subsequent exile in the United States, these personal stories combine to provide insight into socialist film industries, contextualizing south Slavic film while also highlighting its contacts with Western filmmakers and film industry. From the introduction by Aida Vidan: The one hundred and seventy-seven film terms provide sometimes a direct and at other times a metaphoric path to Grlic's stories and concurrently serve as a self-referential mechanism to comment on a series of film attributes. The entries can be read in any order, allowing for the reader's own "montage" of the book's universe.... Grlic adroitly captures the absurdities and paradoxes in one's life resulting from the sort of tectonic shifts with which East European history abounds.

This book intervenes in discussions of the fate of nationalism and national identity by exploring the relationship between state appropriation of marketing and branding strategies on the one hand, and, on the other, the commercial mobilization of nationalist discourses.

Television is the most powerful system of images in the late 20th and early 21st centuries. Nonetheless, TV has attained only little philosophical attention so far, especially compared to other (visual) media such as film. This book looks at TV as what happens on the screen and beyond it; which is mainly the operation of switching images. It therefore proposes a new definition of TV as the first picture that can be switched on, off, and over, which stresses that TV is more tactile than visual. Through the operation of switching, TV figures the world from within and as the course of its figuration. This is grasped here by the term of "ontography". Through the ongoing interlacing and bridging of "TV 1.0" (the image is being switched) and "TV 2.0" (the image is a switch), TV exponentially increases the production and circulation of images. It transforms the world and itself from an analogue state to a digital one and from central perspectivism to pluri-perspective. In terms of time, through switching and the switch, it develops and reworks new temporal orderings, such as instantaneity, synchronicity, flow, and seriality. TV makes its own history. In space, it creates a mediasphere as its habitat and hence new forms of being-in-the-world, of proximity and distance, and scale. Anthropologically, it works on what a subject and an object is, on what makes the human being, and ontographically, how it is possible that there is something at all instead of nothing: through switch-images.

This book is about how TV makers--notably writers, producers, and network programmers--are deeply influenced by public pressures outside their craft. Many scholars assume that the relationship between society and television is one-way, that the traffic of influence moves from the content of a program to the behavior of those who view it, and that if a show is too exploitative or violent or stereotypical, it transforms the minds of those who watch it in some manner. Authors Selnow and Gilbert maintain that the one-way influence is only half-true. Even as television makes its impact on viewers, viewers, society, and society's institutions make their impact on television, often with more noticeable effect.

Some of television's most influential and best known producers and programmers (including Grant Tinker, Norman Lear, Steven Bochco, and Gary David Goldberg) discuss the forces that affect their selection of themes and treatments, why they include or reject material, and how they view their opinion leader roles and their roles as members of the society that is so influenced by their products. Selnow and Gilbert examine many of the obvious as well as less apparent forces that affect content decisions: government regulations, interest groups, and advertisers. They argue that the rapid advancement in telecommunication technologies has as much to do with what we watch as any of the social forces. The authors look not only at the current control of content, but point toward the consortium of influences that will affect the medium as it evolves rapidly throughout the next decade.

The philosophy of public journalism, which has found converts in academia and in newsrooms nationwide, holds that traditional journalism is outmoded--values such as objectivity and detachment must give way to new values connecting journalists to their communities and committing them to a kind of reporting that will make public life go well. These new values, however, are not clearly defined, and even the main advocates of public journalism disagree on its meaning and purpose. This volume offers a thorough and devastating critique of public journalism by showing that its advocates have failed to diagnose what really ails American journalism and that their prescriptions for saving journalism are more likely to harm than to help the profession. After presenting the ideas and projects that characterize the major players in the movement, the author introduces the data from an extensive survey of newspaper editors and academics, as well as a comprehensive lexicon of public journalism.

An authoritative yet accessible analysis of the historical development and contemporary scope of press freedoms in America. Freedom of the Press: Rights and Liberties under the Law examines the evolution of press freedom in America, a particularly relevant topic given the controversy over the role of the press in the war in Iraq, as well as the growing concentration of ownership of the press, and the impact of the Internet on traditional journalism. An opening analysis of challenges from recent developments like Internet journalist Matt Drudge's "Drudge Report" illustrates the opportunities and implications of a press operating without the traditional gate-keeping process. A historical overview of philosophical ideas and English traditions precedes an exploration into the judicial, regulatory, social, political, and economic developments that have shaped press freedoms, addressing such issues as libel, free press versus fair trial, and access to courtrooms. A chapter is devoted to the impact of new communication and transmission technology such as videophones and satellites. Extensive A-Z entries on key individuals such as Anthony Comstock, events including conflicts in the Middle East and Afghanistan, and concepts and terms Chronology of key developments in the history of press freedom, including the growing conglomeration of the media

This book explores the aesthetic and ethical ways in which history and daily life are filmically represented and witnessed in Taiwanese director Hou Hsiao-hsien's movies. From the era of the Japanese Occupation to the White Horror and then to the lifting of martial law, the author shows how Hou Hsiao-hsien uses visual media to evoke the rhythms of daily life through the emotional memory of the characters and communities he explores. In particular, the book focuses on the ways in which Hou Hsiao-hsien seeks to reflect the strong dilemmas of identity and the traumatic emotions associated with witnessing history. Taking an interdisciplinary approach, it investigates the concepts of daily life, representation and historical trauma in order to focus on how these films represent history and political trauma through the nature of daily life and personal memories, and the resulting historical responsibility and ethics. This is the first academic monography about Hou Hsiao-hsien's films.

In this groundbreaking collection, Dr. Jenna Ng brings together academics and award-winning artists and machinima makers to explore the fascinating combination of cinema, animation and games in machinima (the use of computer game engines to produce animated films in cost- and time-efficient ways). Book-ended by a preface by Henry Lowood (curator for history of science and technology collections at Stanford University) and an interview with Isabelle Arvers (machinima artist, trainer, critic, and curator), the collection features wide-ranging discussions addressing machinima not only from diverse theoretical perspectives, but also in its many dimensions as game art, First Nations media art, documentary, and pedagogical tool. Making use of interactive multimedia to enhance the text, each chapter features a QR code which leads to a mobile website cross-referencing with its print text, integrating digital and print content while also taking into account the portability of digital devices in resonance with machinima's mobile digital forms. Exploring the many dimensions of machinima production and reception, Understanding Machinima extends machinima's critical scholarship and debate, underscoring the exciting potential of this emerging media form.

The book showcases research on digital entertainment solutions in different sectors. In recent years, digital media have evolved to include bandwidth-rich, smart, and connected platforms accessed via computers, tablets, smart phones, social media, and video game consoles. The high connectivity and vast processing capacity of these platforms have allowed for platform-agnostic, streaming, always-on, entertainment-on-demand consumption of digital content in a way distinct from traditional models of entertainment consumption. Moving beyond the unilateral delivery of content, with fixed positions of the entertainers and the entertained, digital entertainment is now dynamically generated by users and providers, blurring the boundary between producers and consumers of entertainment. With the increasing accessibility of multimodal media that surround audiences with sensory-rich information, digital entertainment is becoming more immersive.

How do we identify the "queer auteur" and their queer imaginings? Is it possible to account for such a figure when the very terms "queer" and "auteur" invoke aesthetic surprises and disorientations, disconcerting ironies and paradoxes, and biographical deceits and ambiguities? In eighteen eloquent chapters, David A. Gerstner traces a history of ideas that spotlight an ever-shifting terrain associated with auteur theory and, in particular, queer-auteur theory. Engaging with the likes of Oscar Wilde, Walter Benjamin, James Baldwin, Jean Louis Baudry, Linda Nochlin, Jane Gallop, Cael Keegan, Luce Irigaray, and other prominent critical thinkers, Gerstner contemplates how the queer auteur in film theory might open us to the work of desire. Queer Imaginings argues for a queer-auteur in which critical theory is reenabled to reconceptualize the auteur in relation to race, gender, sexuality, and desire. Gerstner succinctly defines the contours of a history and the ongoing discussions that situate queer and auteur theories in film studies. Ultimately, Queer Imaginings is a journey in shared pleasures in which writing for and about cinema makes way for unanticipated cinematic friendships.

Talking Politics presents the opinions of some of America's leading broadcasters and political commentators on the tension-fraught relationship between politics and the media. In a series of personal, frank, and in-depth interviews, Tom Brokaw, Larry King, Robert MacNeil, Linda Ellerbee, Bernard Shaw, and others talk about the extraordinarily influential, sometimes volatile, relationship between journalists and political figures. Providing a window onto political campaigns and governance, political analysts, journalists, and media figures address issues such as: * When does a tabloid story become news, worthy of the attention of the serious media * Can a talk show really give us a closer look at a candidate or is that closeness an illusion? * When can voters trust candidate images presented on TV-network news, talk shows, or otherwise? In an age when the media has become as much a topic as the politicians it covers. Talking Politics will be fascinating reading for all who follow politics. Talking Politics gives us an inside view of the relationship between journalists and candidates, one that shapes the way most Americans choose their president. In a series of personal and in-depth interviews, some of America's top broadcasters and political commentators talk about the extraordinarily influential relationship between the nation's most powerful journalists and political figures. Tom Brokaw, Larry King, Robert MacNeil, Linda Ellerbee, Bernard Shaw, and other media figures address issues such as: o When does a tabloid story become worthy of the attention of the serious media? o Can a talk show really give us a closer look at a candidate or is that closeness an illusion? o When can voters trust candidate images presented on television-network news, talk shows, or otherwise? Each chapter in Talking Politics features a frank, revealing interview with one of the nation's most influential broadcasters or political commentators. The result is a unique, behind-the-scenes look at the tension-fraught relationship between TV news and political candidates. In an age when the media has become as much a topic as the politicians it covers, Talking Politics will be fascinating reading for all who follow politics.

Handbook of Media Economics provides valuable information on a unique field that has its own theories, evidence, and policies. Understanding the media is important for society, and while new technologies are altering the media, they are also affecting our understanding of their economics. The book spans the large scope of media economics, simultaneously offering in-depth analysis of particular topics, including the economics of why media are important, how media work (including financing sources, institutional settings, and regulation), what determines media content (including media bias), and the effects of new technologies. The book provides a powerful introduction for those interested in starting research in media economics.

Perturbatory narration is a heuristic concept, applicable both quantitatively and qualitatively to a specific type of complex narratives for which narratology has not yet found an appropriate classification. This new term refers to complex narrative strategies that produce intentionally disturbing effects such as surprise, confusion, doubt or disappointment - effects that interrupt or suspend immersion in the aesthetic reception process. The initial task, however, is to indicate what narrative conventions are, in fact, questioned, transgressed, or given new life by perturbatory narration. The key to our modeling lies in its combination of individual procedures of narrative strategies hitherto regarded as unrelated. Their interplay has not yet attracted scholarly attention. The essays in this volume present a wide range of contemporary films from Canada, the USA, Mexico, Argentina, Spain, France and Germany. The perturbatory narration concept enables to typify and systematize moments of disruption in fictional texts, combining narrative processes of deception, paradox and/or empuzzlement and to analyse these perturbing narrative strategies in very different filmic texts.