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This volume analyzes innovative forms of media and music (art installations, television commercials, photography, films, songs, telenovelas) to examine the performance of migration in contemporary culture. Though migration studies and media studies are ostensibly different fields, this transnational collection of essays addresses how their interconnection has shaped our understanding of the paradigms through which we think about migration, ethnicity, nation, and the transnational. Cultural representations intervene in collective beliefs. Art and media clearly influence the ways the experience of migration is articulated and recalled, intervening in individual perceptions as well as public policy. To understand the connection between migration and diverse media, the authors examine how migration is represented in film, television, music, and art, but also how media shape the ways in which host country and homeland are imagined. Among the topics considered are new mediated forms for representing migration, widening the perspective on the ways these representations may be analyzed; readings of enactments of memory in trans- and inter-disciplinary ways; and discussions of globalization and transnationalism, inviting us to rethink traditional borders in respect to migration, nation states, as well as disciplines.
This volume examines the role and representation of ‘race’ and ethnicity in the media with particular emphasis on the United States. It highlights contemporary work that focuses on changing meanings of racial and ethnic identity as they are represented in the media; television and film, digital and print media are under examination. Through fourteen innovative and interdisciplinary case studies written by a team of internationally based contributors, the volume identifies ways in which ethnic, racial, and national identities have been produced, reproduced, stereotyped, and contested. It showcases new emerging theoretical approaches in the field, and pays particular attention to the role of race, ethnicity, and national identity, along with communal and transnational allegiances, in the making of identities in the media. The topics of the chapters range from immigrant newspapers and gangster cinema to ethnic stand-up comedy and the use of ‘race’ in advertising.
This book explores the cultural, aesthetic, and political relevance of music in radio art from its beginnings to present day. Contributors include musicologists, literary studies, and cultural studies scholars and cover radio plays, radio shows, and other programs in North American, English, Spanish, Greek, Italian, and German radio.
Computers, the Internet, Web, mobile, and other digital media are increasingly important technologies in the production and consumption of sports media. Sport Beyond Television analyzes the changes that have given rise to this situation, combining theoretical insights with original evidence collected through extensive research and interviews with people working in the media and sport industries. It locates sports media as a pivotal component in online content economies and cultures, and counteracts the scant scholarly attention to sports media when compared to music, film and publishing in convergent media cultures.
Exploring gender, race, nation and narration, this groundbreaking study isolates how mainstream cinema works to bestow value upon certain lives and specific socio-cultural identities in a hierarchical and partisan way. Dedicated to the popular, to the pol
The last few decades have helped dispel the myth that media should remain driven by high-end professionals and market share. This book puts forward the concept of "communications from below" in contrast to the "globalization from above" that characterizes many new developments in international organization and media practices. By examining the social and technological roots that influence current media evolution, Drew allows readers to understand not only the Youtubes and Facebooks of today, but to anticipate the trajectory of the technologies to come. Beginning with a look at the inherent weaknesses of the U.S. broadcasting model of mass media, Drew outlines the early 1960s and 1970s experiments in grassroots media, where artists and activists began to re-engineer electronic technologies to target local communities and underserved audiences. From these local projects emerged national and international communications projects, creating production models, social networks and citizen expectations that would challenge traditional means of electronic media and cultural production. Drew’s perspective puts the social and cultural use of the user at the center, not the particular media form. Thus the structure of the book focuses on the local, the national, and the global desire for communications, regardless of the means.
The sites from which postcolonial cultural articulations develop and the sites at which they are received have undergone profound transformations within the last decades. This book traces the accelerating emergence of cultural crossovers and overlaps in a global perspective and through a variety of disciplinary approaches. It starts from the premise that after the ‘spatial turn’ human action and cultural representations can no longer be grasped as firmly located in or clearly demarcated by territorial entities. The collection of essays investigates postcolonial articulations of various genres and media in their spatiality and locatedness while envisaging acts of location as dynamic cultural processes. It explores the ways in which critical spatial thinking can be made Productive: Testing the uses and limitations of ‘translocation’ as an open exploratory model for a critically spatialized postcolonial studies, it covers a wide range of cultural expressions from the anglophone world and beyond – literature, film, TV, photography and other forms of visual art, philosophy, historical memory, and tourism. The extensive introductory chapter charts various facets of spatial thinking from a variety of disciplines, and critically discusses their implications for postcolonial studies. The Contributors’ essays range from theoretical interventions into the critical routines of postcolonial criticism to case studies of specific cultural texts, objects, and events reflecting temporal and spatial, material and intellectual, physical and spiritual mobility. What emerges is a fascinating survey of the multiple directions postcolonial translocations can take in the future. This book is aimed at students and scholars of postcolonial literary and cultural studies, diaspora studies, migration studies, transnational studies, globalisation studies, critical space studies, urban studies, film studies, media studies, art history, philosophy, history, and anthropology. Contributors: Diana Brydon, Lars Eckstein, Paloma Fresno-Calleja, Lucia Krämer, Gesa Mackenthun, Thomas Martinek, Sandra Meyer, Therese-M. Meyer, Marga Munkelt, Lynda Ng, Claudia Perner, Katharina Rennhak, Gundo Rial y Costas, Markus Schmitz, Mark Stein, Silke Stroh, Kathy-Ann Tan, Petra Tournay-Theodotou, Daria Tunca, Jessica Voges, Roland Walter, Dirk Wiemann.
This volume explores the relationship among beauty, violence, and representation in a broad range of artistic and cultural texts, including literature, visual art, theatre, film, and music. Charting diversifying interests in the subject of violence and beauty, dealing with the multiple inflections of these questions and representing a spectrum of voices, the volume takes its place in a growing body of recent critical work that takes violence and representation as its object. This collection offers a unique opportunity, however, to address a significant gap in the critical field, for it seeks to interrogate specifically the nexus or interface between beauty and violence. While other texts on violence make use of regimes of representation as their subject matter and consider the effects of aestheticization, beauty as a critical category is conspicuously absent. Furthermore, the book aims to "rehabilitate" beauty, implicitly conceptualized as politically or ethically regressive by postmodern anti-aesthetics cultural positions, and further facilitate its come-back into critical discourse.
Performance and performativity are important terms for a theorization of gender and race/ethnicity as constitutive of identity. This collection reflects the ubiquity, diversity, and (historical) locatedness of ethnicity and gender by presenting contributions by an array of international scholars who focus on the representation of these crucial categories of identity across various media, including literature, film, documentary, and (music) video performance. The first section, "Political Agency," stresses instances where the performance of ethnicity/gender ultimately aims at a liberating effect leading to more autonomy. The second section, "Diasporic Belonging," explores the different kinds of negotiations of ethnic performances in multi-ethnic contexts. The third part, "Performances of Ethnicity and Gender" scrutinizes instances of the combined performance of ethnicity and gender in novels, films, and musical performances. The last section "Cross-Ethnic Traffic" contains a number of contributions that are concerned with attempts at crossing over from "one ethnicity into another" by way of performance.
The essays in this volume discuss both the culture of technology that we live in today, and culture as technology. Within the chapters of the book cultures of technology and cultural technologies are discussed, focussing on a variety of examples, from varied national contexts. The book brings together internationally recognised scholars from the social sciences and humanities, covering diverse themes such as intellectual property, server farms and search engines, cultural technologies and epistemology, virtual embassies, surveillance, peer-to-peer file-sharing, sound media and nostalgia and much more. It contains both historical and contemporary analyses of technological phenomena as well as epistemological discussions on the uses of technology.