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Wag the Dog became a media event and a cultural icon because it inadvertently short-circuited the distance that is supposed to separate reality and fiction. The examination of the historical and social context in which it was produced, exhibited and received worldwide enables the author to illuminate a series of changes in the way a fiction film reflects and interacts with reality, urging us to reconsider some of our central and long-standing concepts or even paradigms in film theory. Eleftheria Thanouli provides new insights into a series of issues from both classical and contemporary film theory, such as the conceptual and ontological stakes in the use of digital technology, the impact of mass media on public memory and the political role of cinema in a globalized and conglomerated world.
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After a nation has transitioned from authoritarianism to democracy, how are democratic norms most effectively fostered and maintained? This book uses as its case study Indonesia after the fall of the dictator Suharto to reveal that a contentious, even scandal-obsessed press can actually prove extremely useful for an emergent democracy. A society that can tolerate and protect journalists willing to expose corruption and scandal among elites is one, the author finds, in which ordinary citizens are willing to believe in and support other democratic institutions. Based on extensive interviews and research in Indonesia, this book offers a new and surprising perspective on the role of the press and the nature of scandal-driven journalism in fledgling democracies.
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Each time a border is crossed there are cultural, political and social issues to be considered. Applying the metaphor of the ‘border crossing’ from one temporal or spatial territory into another, this book examines the way classic Russian texts have been altered to suit new cinematic environments. In these essays, international scholars examine how political and economic circumstances – from a shifting Soviet political landscape to the perceived demands of American and European markets – have played a crucial role in dictating how filmmakers transpose their cinematic hypertext into a new environment. Rather than focus on the degree of accuracy or fidelity with which these films address their originating texts, this innovative collection explores the role of ideological, political and other cultural pressures that can affect the transformation of literary narratives into cinematic offerings.
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This book presents studies from different academic fields of theoretical issues raised by public discourse, focusing on understanding and evaluating how its many manifestations both reflect, shape, and challenge the society it is a part of. The book also presents analyses of examples from around the world of civic communication, ranging from public hearings about same-sex marriage over polemical letters to the editor to public displays of knitting as a protest form.
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The word media hype is often used as rhetorical argument to dismiss waves of media attention as overblown, disproportional and exaggerated. But these explosive news waves, as well as - nowadays - the twitter storms, are object of scientific research, because they are an important phenomenon in the public area. Sometimes it is indeed ‘much ado about nothing’ but in many cases these media storms have play an important role in political issues, scandals and crises. Twitter storms sometimes ruin reputations within hours. Although different concepts are used, such as media hypes, news waves, media storms, information cascades or risk amplification, all the studies in this book refer to the same process in which key events trigger a chain of reactions and interactions, building up huge news waves in the media or rapidly spreading social epidemics in the social media.
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This book investigates regulatory and social pressures that social media companies face in the aftermath of high profile cyberbullying incidents. The author’s research evaluates the policies companies develop to protect themselves and users. This includes interviews with NGO and social media company reps in the US and the EU. She triangulates these findings against news, policy reports, evaluations and interviews with e-safety experts. This book raises questions about the legitimacy of expecting companies to balance the tension between free speech and child protection without publicly revealing their decision-making processes. In an environment where e-safety is part of the corporate business model, this book unveils the process through which established social media companies receive less government scrutiny than start-ups. The importance of this research for law and policy argues for an OA edition to ensure the work is widely and globally accessible to scholars and decision makers.
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From Skirts Ahoy! to M*A*S*H, Private Benjamin, G.I. Jane, and JAG, films and television shows have grappled with the notion that military women are contradictory figures, unable to be both effective soldiers and appropriately feminine. In Soldiers’ Stories, Yvonne Tasker traces this perceived paradox across genres including musicals, screwball comedies, and action thrillers. She explains how, during the Second World War, women were portrayed as auxiliaries, temporary necessities of “total war.” Later, nursing, with its connotations of feminine care, offered a solution to the “gender problem.” From the 1940s through the 1970s, musicals, romances, and comedies exploited the humorous potential of the gender role reversal that the military woman was taken to represent. Since the 1970s, female soldiers have appeared most often in thrillers and legal and crime dramas, cast as isolated figures, sometimes victimized and sometimes heroic. Soldiers’ Stories is a comprehensive ...
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This edited collection of original essays situates itself at the cutting edge of media theory, exploring imaginary worlds as forms of knowledge and forms of life. By exploring the concept of worlds from theoretical and practical perspectives, this book puts forward a unique and original starting point for rethinking media theory, going beyond the notion of communication and understanding the role of worlds in interaction rituals as well as the building of values and meaning in contemporary society. In recent years, due to digital distribution and the integration of social networking and entertainment content, viewing strategies and narrative forms are undergoing important changes. Notably, we are faced with the rise of multi- platform conglomerates, in which film, television, Internet, graphic novels, toys, and virtual environments create heterogeneous yet compact universes, recognizable as brands and having a well-defined semiotic identity. Scholars are looking for new theoretical tools to understand the role of contemporary new media in these phenomena and the increasingly central place that viewers hold in exploring, mapping, interpreting and expanding story worlds. On the one hand, Internet networks are increasingly studied as the environment for the emergence of forms of consumption through fragments. As Henry Jenkins recently underlined, media become spreadable (Jenkins, Ford, Green 2013). On the other, the observation of production practices in the contemporary media sphere shows that, instead of being only fluid and ephemeral elements, media fragments sometimes converge in persistent and heterogeneous spaces built from multiple contributions and comparable to worlds. Media creators don't merely forge stories or characters. Instead, they build worlds: fictional worlds, character worlds, alternative worlds...
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This collection includes eighteen essays that introduce the concept of unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey and fan fiction, from Christian Rock and Country to Black Metal, from Steven Seagal to Genesis (Breyer) P-Orridge, fromThe Simpsons to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies.
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Through a rigorous quantitative/qualitative discourse analysis - never before undertaken in relation to online fanfiction and its reception - Fanfiction and the Author demonstrates how fanfic relating to Sherlock, Game of Thrones and Supernatural works to change and consolidate the discourses of masculinity, authority, and authorship created through these TV texts. As a result, this book innovatively explores how fanfic - the unauthorized creative (re)writing of media fans - alters the discursive formations of popular culture. This, the first large-scale study of fanfic to employ an approach attentive to the sites, receptions, and fan rejections of fanfic, demonstrates that fanfic often legitimates itself through traditional notions of authorship. However, in its explicit discussion and deconstruction of the author figure, fan culture is also beginning to contest those traditional discourses of authority upon which it has depended, paving the way for new kinds of writing that challenge the authority of media professionals.
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