As mobile communication, social media, wireless networks, and flexible user interfaces become prominent topics in the study of media and culture, the screen emerges as a critical research area. This reader brings together insightful and influential texts from a variety of sources-theorists, researchers, critics, inventors, and artists-that explore the screen as a fundamental element not only in popular culture but also in our very understanding of society and the world. The Screen Media Reader is a foundational resource for studying the screen and its cultural impact. Through key contemporary and historical texts addressing the screen's development and role in communications and the social sphere, it considers how the screen functions as an idea, an object, and an everyday experience. Reflecting a number of descriptive and analytical approaches, these essays illustrate the astonishing range and depth of the screen's introduction and application in multiple media configurations and contexts. Together they demonstrate the long-standing influence of the screen as a cultural concept and communication tool that extends well beyond contemporary debates over screen saturation and addiction.

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures - Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through a range of new sources, including advertisements, specialty magazines, postcards, technical guides and souvenir programs, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema's shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

As mobile communication, social media, wireless networks, and flexible user interfaces become prominent topics in the study of media and culture, the screen emerges as a critical research area. This reader brings together insightful and influential texts from a variety of sources-theorists, researchers, critics, inventors, and artists-that explore the screen as a fundamental element not only in popular culture but also in our very understanding of society and the world. The Screen Media Reader is a foundational resource for studying the screen and its cultural impact. Through key contemporary and historical texts addressing the screen's development and role in communications and the social sphere, it considers how the screen functions as an idea, an object, and an everyday experience. Reflecting a number of descriptive and analytical approaches, these essays illustrate the astonishing range and depth of the screen's introduction and application in multiple media configurations and contexts. Together they demonstrate the long-standing influence of the screen as a cultural concept and communication tool that extends well beyond contemporary debates over screen saturation and addiction.

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures - Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through a range of new sources, including advertisements, specialty magazines, postcards, technical guides and souvenir programs, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema's shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.