Media and Society explores the relationship between the media, their institutions and the world we live in, examining how they are connected and how society and the media affect each other.

The book analyses representations of the world found in films, television, advertisements, news and online to understand the impact of the media in the contemporary world. The sixth edition explores several themes throughout the text, including the contradictory nature of the media and the psychological concerns of the media, to provide clear explanations of complex theories and ideas.

Screen Media offers screen enthusiasts the analytical and theoretical vocabulary required to articulate responses to film and television. The authors emphasise the importance of 'thinking on both sides of the screen'. They show how to develop the skills to understand and analyse how and why a screen text was shot, scored, and edited in a particular way, and then to consider what impact those production choices might have on the audience.Stadler and McWilliam set production techniques and approaches to screen analysis in historical context. They demystify technological developments and explain the implications of increasing convergence of film and television technologies. They also discuss aesthetics, narrative, realism, genre, celebrity, cult media and global screen culture. Throughout they highlight the links between screen theory and creative practice.With extensive international examples, Screen Media is an ideal introduction to critical engagement with film and television.'Screen Media offers a systematic approach to film and television analysis. The examples chosen by the authors are both appropriate and timely, and are presented in a very lively and readable form that will appeal to an international readership.' - Rebecca L. Abbott, Professor of Film, Video + Interactive Media, Quinnipiac University, USA

This book explores ways in which screen-based storyworlds transfix, transform, and transport us imaginatively, physically, and virtually to the places they depict or film. Topics include fantasy quests in computer games, celebrity walking tours, dark tourism sites, Hobbiton as theme park, surf movies, and social gangs of Disneyland. How physical, virtual, and imagined locations create a sense of place through their immediate experience or visitation is undergoing a revolution in technology, travel modes, and tourism behaviour. This edited collection explores the rapidly evolving field of screen tourism and the affective impact of landscape, with provocative questions and investigations of social groups, fan culture, new technology, and the wider changing trends in screen tourism. We provide critical examples of affective landscapes across a wide range of mediums (from the big screen to the small screen) and locations. This book will appeal to students and scholars in film and tourism, as well as geography, design, media and communication studies, game studies, and digital humanities.

This book explores ways in which screen-based storyworlds transfix, transform, and transport us imaginatively, physically, and virtually to the places they depict or film. Topics include fantasy quests in computer games, celebrity walking tours, dark tourism sites, Hobbiton as theme park, surf movies, and social gangs of Disneyland. How physical, virtual, and imagined locations create a sense of place through their immediate experience or visitation is undergoing a revolution in technology, travel modes, and tourism behaviour. This edited collection explores the rapidly evolving field of screen tourism and the affective impact of landscape, with provocative questions and investigations of social groups, fan culture, new technology, and the wider changing trends in screen tourism. We provide critical examples of affective landscapes across a wide range of mediums (from the big screen to the small screen) and locations. This book will appeal to students and scholars in film and tourism, as well as geography, design, media and communication studies, game studies, and digital humanities.

Screen Media offers screen enthusiasts the analytical and theoretical vocabulary required to articulate responses to film and television. The authors emphasise the importance of 'thinking on both sides of the screen'. They show how to develop the skills to understand and analyse how and why a screen text was shot, scored, and edited in a particular way, and then to consider what impact those production choices might have on the audience. Stadler and McWilliam set production techniques and approaches to screen analysis in historical context. They demystify technological developments and explain the implications of increasing convergence of film and television technologies. They also discuss aesthetics, narrative, realism, genre, celebrity, cult media and global screen culture. Throughout they highlight the links between screen theory and creative practice. With extensive international examples, Screen Media is an ideal introduction to critical engagement with film and television.

Imagined Landscapes teams geocritical analysis with digital visualization techniques to map and interrogate films, novels, and plays in which space and place figure prominently. Drawing upon A Cultural Atlas of Australia, a database-driven interactive digital map that can be used to identify patterns of representation in Australia's cultural landscape, the book presents an integrated perspective on the translation of space across narrative forms and pioneers new ways of seeing and understanding landscape. It offers fresh insights on cultural topography and spatial history by examining the technical and conceptual challenges of georeferencing fictional and fictionalized places in narratives. Among the items discussed are Wake in Fright, a novel by Kenneth Cook, adapted iconically to the screen and recently onto the stage; the Australian North as a mythic space; spatial and temporal narrative shifts in retellings of the story of Alexander Pearce, a convict who gained notoriety for resorting to cannibalism after escaping from a remote Tasmanian penal colony; travel narratives and road movies set in Western Australia; and the challenges and spatial politics of mapping spaces for which there are no coordinates.

Imagined Landscapes teams geocritical analysis with digital visualization techniques to map and interrogate films, novels, and plays in which space and place figure prominently. Drawing upon A Cultural Atlas of Australia, a database-driven interactive digital map that can be used to identify patterns of representation in Australia's cultural landscape, the book presents an integrated perspective on the translation of space across narrative forms and pioneers new ways of seeing and understanding landscape. It offers fresh insights on cultural topography and spatial history by examining the technical and conceptual challenges of georeferencing fictional and fictionalized places in narratives. Among the items discussed are Wake in Fright, a novel by Kenneth Cook, adapted iconically to the screen and recently onto the stage; the Australian North as a mythic space; spatial and temporal narrative shifts in retellings of the story of Alexander Pearce, a convict who gained notoriety for resorting to cannibalism after escaping from a remote Tasmanian penal colony; travel narratives and road movies set in Western Australia; and the challenges and spatial politics of mapping spaces for which there are no coordinates.

The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents within the narrative, and in the world outside the cinema. Pulling Focus: Intersubjective Experience and Narrative Film questions how cinematic narratives relate to and affect ethical life. Extending Martha Nussbaum and Wayne Booth's work on moral philosophy and literature to consider cinema, Dr. Stadler shows that film spectatorship can be understood as a model for ethical attention that engages the audience in an affective relationship with characters and their values. Building on Vivian Sobchack's Address of the Eye and Carnal Thoughts, she uses a phenomenological approach to analyse ethical dimensions of film extending beyond narrative content, arguing that the camera describes experience and views screen characters with an evaluative form of perception: an ethical gaze in which spectators participate. Films discussed include Dead Man Walking, Lost Highway, Batman Begins, Nil By Mouth, and Eternal Sunshine of the Spotless Mind.>