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Amateur Media and Participatory Cultures aims to delineate the
boundary line between today's amateur media practice and the canons
of professional media and film practice. Identifying various
feasible interpretative frameworks, from historical to
anthropological perspectives, the volume proposes a critical
language able to cope with amateur and new media's rapid
technological and interpretative developments. Conscious of the
fact that amateur media continue to be seen as the benchmark of
visual records of authentic rather than mass-media-derived events,
Annamaria Motrescu-Mayes and Susan Aasman pay particular attention
to the ways in which diverse sets of concepts of amateur media have
now merged across global visual narratives and everyday
communication protocols. Building on key research questions and
content analysis in media and communication studies, they have
assessed differences between professional and amateur media
productions based on the ways in which the 'originators' of an
image have been influenced by, or have challenged, their context of
production. This proposes that technical skills, degrees of staging
and/or censoring visual information, and patterns in media
socialisation define central differences between professional and
amateur media production, distribution and consumption. The book's
methodical and interdisciplinary approach provides valuable
insights into the ways in which visual priming, cultural
experiences and memory-building are currently shaped, stored and
redistributed across new media technologies and visual channels.
Amateur Media and Participatory Cultures aims to delineate the
boundary line between today's amateur media practice and the canons
of professional media and film practice. Identifying various
feasible interpretative frameworks, from historical to
anthropological perspectives, the volume proposes a critical
language able to cope with amateur and new media's rapid
technological and interpretative developments. Conscious of the
fact that amateur media continue to be seen as the benchmark of
visual records of authentic rather than mass-media-derived events,
Annamaria Motrescu-Mayes and Susan Aasman pay particular attention
to the ways in which diverse sets of concepts of amateur media have
now merged across global visual narratives and everyday
communication protocols. Building on key research questions and
content analysis in media and communication studies, they have
assessed differences between professional and amateur media
productions based on the ways in which the 'originators' of an
image have been influenced by, or have challenged, their context of
production. This proposes that technical skills, degrees of staging
and/or censoring visual information, and patterns in media
socialisation define central differences between professional and
amateur media production, distribution and consumption. The book's
methodical and interdisciplinary approach provides valuable
insights into the ways in which visual priming, cultural
experiences and memory-building are currently shaped, stored and
redistributed across new media technologies and visual channels.
A multitude of devices and technological tools now exist to make,
share, and store memories and moments with family, friends, and
even strangers. Memory practices such as home movies, which
originated as the privilege of a few, well-to-do families, have now
emerged as ubiquitous and immediate cultures of sharing. Departing
from the history of home movies, this volume offers a sophisticated
understanding of technologically mediated, mostly ritualized memory
practices, from early beginnings in the fin-de-siecle to today.
Departing from a longue duree perspective on home movie practices,
Materializing Memories moves beyond a strict historical study to
grapple with highly theorized fields, such as media studies, memory
studies, and science and technology studies (STS). The contributors
to this volume reflect on these different intellectual backgrounds
and perspectives, but all chapters share a common framework by
addressing practices of use, user configurations, and relevant
media landscapes. Grasping the cultural dynamics of such
multi-faceted practices requires a multidimensional conceptual
approach, here achieved by centering around three concepts as
central analytical lenses: dispositifs, generations, and amateurs.
A multitude of devices and technological tools now exist to make,
share, and store memories and moments with family, friends, and
even strangers. Memory practices such as home movies, which
originated as the privilege of a few, well-to-do families, have now
emerged as ubiquitous and immediate cultures of sharing. Departing
from the history of home movies, this volume offers a sophisticated
understanding of technologically mediated, mostly ritualized memory
practices, from early beginnings in the fin-de-siecle to today.
Departing from a longue duree perspective on home movie practices,
Materializing Memories moves beyond a strict historical study to
grapple with highly theorized fields, such as media studies, memory
studies, and science and technology studies (STS). The contributors
to this volume reflect on these different intellectual backgrounds
and perspectives, but all chapters share a common framework by
addressing practices of use, user configurations, and relevant
media landscapes. Grasping the cultural dynamics of such
multi-faceted practices requires a multidimensional conceptual
approach, here achieved by centering around three concepts as
central analytical lenses: dispositifs, generations, and amateurs.
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