Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world.

This book, first published in 1992, challenges the elitism and cultural pessimism of much Anglo-American and Continental cultural debate with regard to the role and power of transnational media practices. In a series of ten innovative essays, an international group of media researchers explores a wide range of cultural practices across national borders and the cultural politics associated with these everyday practices and debates.

The concept of the audience is changing. In the twenty-first century there are novel configurations of user practices and technological capabilities that are altering the way we understand and trust media organizations and representations, how we participate in society, and how we construct our social relations. This book embeds these transformations in a societal, cultural, technological, ideological, economic and historical context, avoiding a naive privileging of technology as the main societal driving force, but also avoiding the media-centric reduction of society to the audiences that are situated within. Audience Transformations provides a platform for a nuanced and careful analysis of the main changes in European communicational practices, and their social, cultural and technological affordances.

Visitor engagement and learning, outreach, and inclusion are concepts that have long dominated professional museum discourses. The recent rapid uptake of various forms of social media in many parts of the world, however, calls for a reformulation of familiar opportunities and obstacles in museum debates and practices. Young people, as both early adopters of digital forms of communication and latecomers to museums, increasingly figure as a key target group for many museums. This volume presents and discusses the most advanced research on the multiple ways in which social media operates to transform museum communications in countries as diverse as Australia, Denmark, Germany, Norway, the UK, and the United States. It examines the socio-cultural contexts, organizational and education consequences, and methodological implications of these transformations.

This book, first published in 1992, challenges the elitism and cultural pessimism of much Anglo-American and Continental cultural debate with regard to the role and power of transnational media practices. In a series of ten innovative essays, an international group of media researchers explores a wide range of cultural practices across national borders and the cultural politics associated with these everyday practices and debates.

The formative role played by digital communication in knowledge-based societies is widely acknowledged. Not least, young people's rapid adoption of a variety of social software applications serves to challenge existing forms of communication for learning, since these innovations allow and assume users' own creation, sharing, and editing of content. This volume presents advanced research on digital content creation, its socio-cultural contexts, and educational consequences. In the midst of ubiquitous commercial hype about digital innovation, as well as policy concerns, the volume offers the sobering perspectives of theory-driven empirical research, in order to examine the complexities, highlight the nuances, and illuminate the pedagogical affordances of creative digital contents. This book brings together the work of an international group of scholars from a range of disciplines including media and ICT studies, education, psychology, anthropology, sociology, and cultural studies.

Visitor engagement and learning, outreach, and inclusion are concepts that have long dominated professional museum discourses. The recent rapid uptake of various forms of social media in many parts of the world, however, calls for a reformulation of familiar opportunities and obstacles in museum debates and practices. Young people, as both early adopters of digital forms of communication and latecomers to museums, increasingly figure as a key target group for many museums. This volume presents and discusses the most advanced research on the multiple ways in which social media operates to transform museum communications in countries as diverse as Australia, Denmark, Germany, Norway, the UK, and the United States. It examines the socio-cultural contexts, organizational and education consequences, and methodological implications of these transformations.

The concept of the audience is changing. In the twenty-first century there are novel configurations of user practices and technological capabilities that are altering the way we understand and trust media organizations and representations, how we participate in society, and how we construct our social relations. This book embeds these transformations in a societal, cultural, technological, ideological, economic and historical context, avoiding a naive privileging of technology as the main societal driving force, but also avoiding the media-centric reduction of society to the audiences that are situated within. Audience Transformations provides a platform for a nuanced and careful analysis of the main changes in European communicational practices, and their social, cultural and technological affordances.

The formative role played by digital communication in knowledge-based societies is widely acknowledged. Not least, young people's rapid adoption of a variety of social software applications serves to challenge existing forms of communication for learning, since these innovations allow and assume users' own creation, sharing, and editing of content. This volume presents advanced research on digital content creation, its socio-cultural contexts, and educational consequences. In the midst of ubiquitous commercial hype about digital innovation, as well as policy concerns, the volume offers the sobering perspectives of theory-driven empirical research, in order to examine the complexities, highlight the nuances, and illuminate the pedagogical affordances of creative digital contents. This book brings together the work of an international group of scholars from a range of disciplines including media and ICT studies, education, psychology, anthropology, sociology, and cultural studies.

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world. The book is available for free in PDF format as Open Access at www.taylorfrancis.com. It has been made available under a a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license