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This book presents a collection of academic essays that take a
fresh look at content and body transformation in the new media,
highlighting how old hierarchies and canons of analysis must be
revised. The movement of narratives and characterisations across
forms, conventionally understood as adaptation, has commonly
involved high-status classical forms (drama, epic, novel) being
transformed into recorded and broadcast media (film, radio and
television), or from the older recorded media to the newer ones.
The advent of convergent digital platforms has further transformed
hierarchies, and the formation of global conglomerates has created
the commercial conditions for ever more lucrative exchanges between
different media. Now source texts can move in any direction and
take up any configuration, as emerging interacting fan bases drive
innovation and new creative and commercial possibilities are
deployed. Moreover, transformation may be not just a
technology-driven creative practice and response, but at the very
centre of the thematic worlds developed in those forms of
story-telling which are currently popular: television series, video
games, films and novels. The magic transformation of "your" money
into "their" money is paralleled in contemporary media and culture
by the centrality of transformation of one product to another as a
media industry practice, as well as the transformation of bodies as
a major theme both in the ensuing media products and in people's
identity practices in daily life.
This book is a collection of essays on neglected aspects of the
Great War. It begins by asking what exactly was so "Great" about
it, before turning to individual studies of various aspects of the
war. These fall broadly into two categories. Firstly personal,
micro-narratives that deal directly with the experience of war,
often derived from contemporary interest in diaries and oral
histories. Presenting both a close-up view of the viscerality, and
the tedium and powerlessness of personal situations, these same
narratives also address the effects of the war on hitherto
under-regarded groups such as children and animals. Secondly, the
authors look at the impact of the course of the war on theatres,
often left out in reflections on the main European combatants and
therefore not part of the regular iconography of the trenches in
places such as Denmark, Canada, India, the Levant, Greece and East
Africa.
This book is a collection of essays on neglected aspects of the
Great War. It begins by asking what exactly was so "Great" about
it, before turning to individual studies of various aspects of the
war. These fall broadly into two categories. Firstly personal,
micro-narratives that deal directly with the experience of war,
often derived from contemporary interest in diaries and oral
histories. Presenting both a close-up view of the viscerality, and
the tedium and powerlessness of personal situations, these same
narratives also address the effects of the war on hitherto
under-regarded groups such as children and animals. Secondly, the
authors look at the impact of the course of the war on theatres,
often left out in reflections on the main European combatants and
therefore not part of the regular iconography of the trenches in
places such as Denmark, Canada, India, the Levant, Greece and East
Africa.
This book presents a collection of academic essays that take a
fresh look at content and body transformation in the new media,
highlighting how old hierarchies and canons of analysis must be
revised. The movement of narratives and characterisations across
forms, conventionally understood as adaptation, has commonly
involved high-status classical forms (drama, epic, novel) being
transformed into recorded and broadcast media (film, radio and
television), or from the older recorded media to the newer ones.
The advent of convergent digital platforms has further transformed
hierarchies, and the formation of global conglomerates has created
the commercial conditions for ever more lucrative exchanges between
different media. Now source texts can move in any direction and
take up any configuration, as emerging interacting fan bases drive
innovation and new creative and commercial possibilities are
deployed. Moreover, transformation may be not just a
technology-driven creative practice and response, but at the very
centre of the thematic worlds developed in those forms of
story-telling which are currently popular: television series, video
games, films and novels. The magic transformation of "your" money
into "their" money is paralleled in contemporary media and culture
by the centrality of transformation of one product to another as a
media industry practice, as well as the transformation of bodies as
a major theme both in the ensuing media products and in people's
identity practices in daily life.
This new collection of essays seeks to focus on three areas where
television has recently been in an intriguing state of flux. Taking
as our background the emergence of multimedia conglomerates and
cash-rich cable channels, we look at the way old national
terrestrial channels and the brash new internationally
commercialized ones have innovated in the domain of television
programming. In all there are fourteen original essays, an
introduction to the book's theme by the editor and a foreword by
Professor Annette Hill. Section one "Realizing the Real" looks at
contemporary patterns of television consumption and the
presentational styles which package the real in news, current
affairs and other `live' television formats. Essays on rhetorical
strategies in the news coverage of the war in Iraq, on national and
international inflections of Sky News in Europe and coverage of the
recent EURO2004 football tournament, as well the multi-channel
reporting of a prominent paedophilia scandal, are presented in this
section. They all analyse the extent to which the grounded and the
local are threatened and distorted by hegemonic forces in media
today. The findings of a comprehensive new study of Portuguese
social practices and viewing habits are also featured in this
section.Section Two "Realizing Performance" addresses the way new
trends in reality programming and other documentary practices have
impacted on fiction and entertainment television. There are essays
on the recent wave of British television comedy heavily influenced
by TV newsmagazine and fly-on-the-wall documentary styles and two
pieces on new American series, 24 and CSI, which have
revolutionized the narrative parameters and evidential base for
thrillers and cop shows respectively, coming up with new ways to
`perform' space, time and science. Finally there is an essay on
Nigel Kneale's The Year of the Sex Olympics (1968), a survivor from
the era of the single play who seems to anticipate the future of
television in reality-based gameshow-style entertainment. Each of
these essays shows that the success of these programmes is
dependent on a fresh restylization of the conventions and formulas
which govern mainstream television programming. They therefore see
the representation of the real in fiction as primarily an aesthetic
reappraisal.Section Three "Performing the Real" looks at the
explosion in reality television programming itself. It focuses on
the coming to pass of 70s and 80s theorists' visions of both a
passive voyeuristic society and one increasingly at peace with the
notion of surveillance. We have been progressively acculturated to
watching and being watched. Orwellian anxiety has given way to
Baudrillardian acceptance of the message and the medium fused in a
new order of mediated reality or hyperreality. Essays refer
specifically to the globalization of shows and formats and their
local inflections and to coverage of reality shows in print media
and on the net. There are essays on The Bachelor and gender
stereotyping, Joe Millionaire and the conventions of melodrama, and
two on Big Brother, one on the problems of communication within a
sealed environment and another on its reception in Portugal.
Concerns about the self and its authenticity are consistency raised
in all the essays of this section.
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