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Explores new perspectives on social media entertainment There is a
new class of cultural producers-YouTube vloggers, Twitch
gameplayers, Instagram influencers, TikTokers, Chinese wanghong,
and others-who are part of a rapidly emerging and highly disruptive
industry of monetized "user-generated" content. As this new wave of
native social media entrepreneurs emerge, so do new formations of
culture and the ways they are studied. In this volume, contributors
draw on scholarship in media and communication studies, science and
technology studies, and social media, Internet, and platform
studies, in order to define this new field of study and the
emergence of creator culture. Creator Culture introduces readers to
new paradigms of social media entertainment from critical
perspectives, demonstrating both relations to and differentiations
from the well-established media forms and institutions
traditionally within the scope of media studies. This volume does
not seek to impose a uniform perspective; rather, the goal is to
stimulate in-depth, globally-focused engagement with this
burgeoning industry and establish a dynamic research agenda for
scholars, teachers, and students, as well as creators and
professionals across the media, communication, creative, and social
media industries. Contributors include: Jean Burgess, Zoe Glatt,
Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damian
Fraticelli, Jose M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin
Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan,
Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo
Arriagada, Jeremy Shtern, Stephanie Hill
In the Clearances of the 19th century, crofts - once the mainstay
of Highland life in Scotland - were swept away as the land was put
over to sheep grazing. Many of the people of the Highlands and
islands of Scotland were forced from their homes by landowners in
the Clearances. Some fled to Nova Scotia and beyond. David Craig
sets out to discover how many of their stories survive in the
memories of their descendants. He travels through 21 islands in
Scotland and Canada, many thousands of miles of moor and glen, and
presents the words of men and women of both countries as they
recount the suffering of their forbears.
The rapid growth of online media has led to new complications in
journalism ethics and practice. While traditional ethical
principles may not fundamentally change when information is
disseminated online, applying them across platforms has become more
challenging as new kinds of interactions develop between
journalists and audiences.
In "Ethics for Digital Journalists," Lawrie Zion and David Craig
draw together the international expertise and experience of
journalists and scholars who have all been part of the process of
shaping best practices in digital journalism. Drawing on
contemporary events and controversies like the Boston Marathon
bombing and the Arab Spring, the authors examine emerging best
practices in everything from transparency and verification to
aggregation, collaboration, live blogging, tweeting and the
challenges of digital narratives. At a time when questions of
ethics and practice are challenged and subject to intense debate,
this book is designed to provide students and practitioners with
the insights and skills to realize their potential as
professionals.
People have been writing "Greetings from Havre de Grace" since
1789, making this one of the oldest postal addresses in the
country. The rich history of the "Harbor of Hope" on the Chesapeake
Bay is documented in 265 postcard images, all from the early 20th
century. The cards depict well-known images such as the famous
"double-decker bridge," the Concord Point Lighthouse, and many
waterfront and boating scenes for which the city is known. Over 800
homes and other structures make up a large portion of the city,
listed on the National Register of Historic Districts.
Architectural styles range from stately Federal, Greek Revival,
Italianate, and Queen Anne styles to Victorian stone mansions. The
book portrays buildings that have thankfully been preserved, others
that have undergone drastic changes, and sadly, many that have
succumbed to development. This book evokes happy memories for
current and past residents and is an important architectural guide
for historians and preservationists.
In Chinese, the term wanghong refers to creators, social media
entrepreneurs alternatively known as KOLs (key opinion leaders) and
zhubo (showroom hosts), influencers and micro-celebrities. Wanghong
also refers to an emerging media ecology in which these creators
cultivate online communities for cultural and commercial value by
harnessing Chinese social media platforms, like Weibo, WeChat,
Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts
of cultural, creative, and social industries, the book maps the
development of wanghong policies and platforms, labor and
management, content and culture, as they operate in contrast to its
non-Chinese counterpart, social media entertainment, driven by
platforms like YouTube, Facebook, Instagram, and Twitch. As
evidenced by the backlash to TikTok, the threat of competition from
global wanghong signals advancing platform nationalism.
The rapid growth of online media has led to new complications in
journalism ethics and practice. While traditional ethical
principles may not fundamentally change when information is
disseminated online, applying them across platforms has become more
challenging as new kinds of interactions develop between
journalists and audiences.
In "Ethics for Digital Journalists," Lawrie Zion and David Craig
draw together the international expertise and experience of
journalists and scholars who have all been part of the process of
shaping best practices in digital journalism. Drawing on
contemporary events and controversies like the Boston Marathon
bombing and the Arab Spring, the authors examine emerging best
practices in everything from transparency and verification to
aggregation, collaboration, live blogging, tweeting and the
challenges of digital narratives. At a time when questions of
ethics and practice are challenged and subject to intense debate,
this book is designed to provide students and practitioners with
the insights and skills to realize their potential as
professionals.
This novel, from a foremost expert on the Clearances, tells the
story of Flo Campbell and her eviction from the family's island
home, and all her subsequent struggles. The compelling storyline
has terrific energy, from the Battle of the Braes and Flo's
departure from the island to her travels and employment on Skye and
beyond. Flo's spirit remains unquenched whether challenged by the
faithlessness of lovers or the callousness of employers and she is
a historical witness who embodies the undying memories of her
Highland people. She spends much of her life in the lowlands of
Britain and in this as in many ways she incarnates the crofters,
fishermen, labourers and artists who spring from that epic northern
terrain. This is a masterful portrayal of the perverse power and
wretched consequences of the Clearances and how they transformed
the lives of individuals, and also the power of a native landscape
in a Celtic breast.
Winner, 2020 Outstanding Book Award, given by the International
Communication Association Honorable Mention, 2020 Nancy Baym Book
Award, given by the Association of Internet Researchers How the
transformation of social media platforms and user-experience have
redefined the entertainment industry In a little over a decade,
competing social media platforms, including YouTube, Facebook,
Twitter, Instagram, and Snapchat, have given rise to a new creative
industry: social media entertainment. Operating at the intersection
of the entertainment and interactivity, communication and content
industries, social media entertainment creators have harnessed
these platforms to generate new kinds of content separate from the
century-long model of intellectual property control in the
traditional entertainment industry. Social media entertainment has
expanded rapidly and the traditional entertainment industry has
been forced to cede significant power and influence to content
creators, their fans, and subscribers. Digital platforms have
created a natural market for embedded advertising, changing the
worlds of marketing and communication in their wake. Combined,
these factors have produced new, radically shifting demands on the
entertainment industry, posing new challenges for screen regimes,
media scholars, industry professionals, content creators, and
audiences alike. Stuart Cunningham and David Craig chronicle the
rise of social media entertainment and its impact on media
consumption and production. A massive, industry-defining study with
insight from over 100 industry insiders, Social Media Entertainment
explores the latest transformations in the entertainment industry
in this time of digital disruption.
In Chinese, the term wanghong refers to creators, social media
entrepreneurs alternatively known as KOLs (key opinion leaders) and
zhubo (showroom hosts), influencers and micro-celebrities. Wanghong
also refers to an emerging media ecology in which these creators
cultivate online communities for cultural and commercial value by
harnessing Chinese social media platforms, like Weibo, WeChat,
Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts
of cultural, creative, and social industries, the book maps the
development of wanghong policies and platforms, labor and
management, content and culture, as they operate in contrast to its
non-Chinese counterpart, social media entertainment, driven by
platforms like YouTube, Facebook, Instagram, and Twitch. As
evidenced by the backlash to TikTok, the threat of competition from
global wanghong signals advancing platform nationalism.
Explores new perspectives on social media entertainment There is a
new class of cultural producers—YouTube vloggers, Twitch
gameplayers, Instagram influencers, TikTokers, Chinese wanghong,
and others—who are part of a rapidly emerging and highly
disruptive industry of monetized “user-generated” content. As
this new wave of native social media entrepreneurs emerge, so do
new formations of culture and the ways they are studied. In this
volume, contributors draw on scholarship in media and communication
studies, science and technology studies, and social media,
Internet, and platform studies, in order to define this new field
of study and the emergence of creator culture. Creator Culture
introduces readers to new paradigms of social media entertainment
from critical perspectives, demonstrating both relations to and
differentiations from the well-established media forms and
institutions traditionally within the scope of media studies. This
volume does not seek to impose a uniform perspective; rather, the
goal is to stimulate in-depth, globally-focused engagement with
this burgeoning industry and establish a dynamic research agenda
for scholars, teachers, and students, as well as creators and
professionals across the media, communication, creative, and social
media industries. Contributors include: Jean Burgess, Zoë Glatt,
Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián
Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke
Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram
Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao,
Arturo Arriagada, Jeremy Shtern, Stephanie Hill
Winner, 2020 Outstanding Book Award, given by the International
Communication Association Honorable Mention, 2020 Nancy Baym Book
Award, given by the Association of Internet Researchers How the
transformation of social media platforms and user-experience have
redefined the entertainment industry In a little over a decade,
competing social media platforms, including YouTube, Facebook,
Twitter, Instagram, and Snapchat, have given rise to a new creative
industry: social media entertainment. Operating at the intersection
of the entertainment and interactivity, communication and content
industries, social media entertainment creators have harnessed
these platforms to generate new kinds of content separate from the
century-long model of intellectual property control in the
traditional entertainment industry. Social media entertainment has
expanded rapidly and the traditional entertainment industry has
been forced to cede significant power and influence to content
creators, their fans, and subscribers. Digital platforms have
created a natural market for embedded advertising, changing the
worlds of marketing and communication in their wake. Combined,
these factors have produced new, radically shifting demands on the
entertainment industry, posing new challenges for screen regimes,
media scholars, industry professionals, content creators, and
audiences alike. Stuart Cunningham and David Craig chronicle the
rise of social media entertainment and its impact on media
consumption and production. A massive, industry-defining study with
insight from over 100 industry insiders, Social Media Entertainment
explores the latest transformations in the entertainment industry
in this time of digital disruption.
On November 20, 1983, a three-hour made-for-TV movie The Day After
premiered on ABC. Set in the heartland of Lawrence, Kansas, the
film depicted the events before, during, and after a Soviet nuclear
attack with vivid scenes of the post-apocalyptic hellscape that
would follow. The film was viewed by over 100 million Americans and
remains the highest rated TV movie in history. After the premiere,
ABC News aired an episode of Viewpoint, a live special featuring
some of the most prominent public intellectuals of the debating the
virtues of the Arms Race and the prospect of a winnable nuclear
war. The response to the film proved more powerful than perhaps any
film or television program in the history of media. Aside from its
record-shattering Nielsen ratings, it enjoyed critical acclaim as
well as international box office success in theatrical screenings.
The path to primetime for The Day After proved nearly as
treacherous as the film’s narrative. Battles ensued behind the
scenes at the network, between the network and the filmmakers, with
Broadcast Standards and Ad Sales, in the edit room and on the set,
including the “nuke-mares” experienced by the cast. After the
director was pushed aside, he contemplated suicide while also
engineering a comeback through the press. But these skirmishes pale
in comparison to the culture wars triggered by the film in the
press, alongside a growing Nuclear Freeze movement, and from a
united, pro-nuclear Right. Once efforts to alter the script failed,
the White House conducted a full-throttled propaganda campaign to
hijack the film’s message. Before The Day After features a
dramatic insider’s account of the making of and backlash against
The Day After. No other book has told this story in similar
fashion, venturing behind-the-scenes of the programming and news
divisions at ABC, Reagan officials in the White House who mounted
the propaganda campaign, rogue publicists who hijacked the film to
promote a Nuclear Freeze, the backlash from the conservative
movement and Religious Right, the challenges encountered by
film’s production team from conception to reception, and the
experiences of the citizens of Lawrence, Kansas, where the film was
set and shot, if also, ground zero in America’s nuclear
heartland.
Death rides the blood of a pale horse June 1893 Undead prowl the
streets of Glasgow at night hunting for blood. They, in turn, are
hunted by the formidable Lady Delaney and her apprentice Kerry
Knox, whose fight against the secret society ruling Glasgow will
lead them into the city's industrial heart where the poor toil in
miserable conditions. Children have been exploited in mills and
factories for decades, but the Sooty Feather Society has refined
its cruel disregard in service to the undead. Delaney and Knox are
not the society's only problem. The elusive demon Arakiel employs
murder and necromancy in his campaign to seize control of Glasgow,
avenging betrayal and reclaiming what was once his. Wilton Hunt and
Tam Foley are lying low in the Highlands where Hunt's father has
recently inherited title and estate. The blue skies and clear
waters of Loch Aline may seem a tranquil sanctuary to the city men,
but its forbidding forests and shadowed glens conceal dark secrets
pertaining to Hunt's family, and a diabolical revelation will
change Wilton's life forever. Demons walk the crowded, cobbled
streets of Glasgow, and a necromancer's debt is called in. Knox
will learn what joining this war might cost her; Hunt and Foley
will learn they can't escape it. Their diverged paths will meet
again when dark magic unleashes a horror not everyone will
survive...
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Confidence (Paperback)
David Craig; Foreword by Robert McNamara
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R283
R231
Discovery Miles 2 310
Save R52 (18%)
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Ships in 10 - 15 working days
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Confidence (Hardcover)
David Craig; Foreword by Robert McNamara
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R671
R549
Discovery Miles 5 490
Save R122 (18%)
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Ships in 10 - 15 working days
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