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This edited volume aims to unpack the digitisation of art and media within the dynamics of participatory culture, and how these changes affect the power relations between the production and consumption of these new forms in a globalised Asia. This follows the rise of new art forms and social media platforms in wake of rapid and ongoing digitisation, which has, in turn, produced far-reaching implications for changing media ownership and its role in social, cultural, economic, as well as political activities. New challenges arise every day in relation to digital art and design practices and social media communications, and their respective impact on identity politics. This book showcases a diverse range of interdisciplinary research on these concomitant changes and challenges associated with digital media and technologies within the context of a globalised Asia. The case studies included present perspectives on Asia’s evolving digital humanities landscape from Hong Kong, China, India, Korea and from across Southeast Asia, with topics that tackle organisational digital marketing, brand advertising and design, mobile gaming, interactive art, and the cultural activities of ethnic and sexual minority communities in the region. This book will of interest to scholars in digital humanities focused on new media and cultural studies.
This book offers interdisciplinary examination of gender representations in cinema and SVOD (Subscription Video on Demand) platforms in India. This book will identify how the so-called feminist enunciations in twenty-first century film and SVOD content in India are marked by an ambiguous entanglement of feminist and postfeminist rhetoric. Set against the backdrop of two significant contemporary phenomena, namely neoliberalism and the digital revolution, this book considers how neoliberalism, aided by technological advancement, re-configured the process of media consumption in contemporary India and how representation of gender is fraught with multiple contesting trajectories. The book looks at two types of media—cinema and SVOD platforms, and explores the reasons for this transformation that has been emerging in India over the past two decades. Keeping in mind the complex paradoxes that such concomitant process of the contraries can invoke, the book invites myriad responses from the authors who view the shifting gender representations in postmillennial Hindi cinema and SVOD platforms from their specific ideological standpoints. The book includes a wide array of genres, from commercial Hindi films to SVOD content and documentary films, and aims to record the transformation facilitated by economic as well as technological revolutions in contemporary India across various media formats.
How do film and television makers around the world depict public housing? Why is public housing so often chosen as the backdrop for drama, horror, social critique, rebellion, violence, artistic creativity, explorations of race relations and political intrigue? Home Screens answers these questions by examining the ways in which socialized housing projects around the world are represented on screen. The volume brings together a diverse group of interdisciplinary scholars, who explore documentary and fictional portrayals of the architecture of public housing, and the communities that inhabit it, ranging from the 1950s to the present. Examining international film and media texts such as Die Architekten (1990), Swagger (2016), Cooley High (1975), Mee-Pok Man (1995), Treme (2010–2013), Mamma Roma (1962), The Pruitt-Igoe Myth (2011), and Below the Lion Rock (1972–1976), essays within this book consider public and private attitudes toward socialised housing, explaining how onscreen representations shape perceptions of these ubiquitous, often-stigmatized urban locations.
A study of the complex role of the seaside as a leisure space in colonial Hong Kong. British sports were in many respects more meaningful in the empire than literature, music, art, or religion. They served as an instrument of cultural association and later of cultural change, promoting imperial union and then postimperial goodwill. Poon analyses the ways in which British colonists and Chinese leaders, backed by the rhetoric of public health and nationalism, respectively, transformed the Hong Kong seaside into a leisure space. She argues that the growing popularity of seaside resorts and sea bathing as a preferred form of leisure activity across the social and ethnic spectrums served an important role in shaping the racial relationship between Westerners and the Chinese population, as well as the Chinese people’s perception of the female body and the seaside, during the colonial period. The popularity of British leisure forms in colonial Hong Kong does not necessarily mean the triumph of “Britishness.” This book will be of great interest to historians with an interest in leisure and in Empire and Colonialism, as well as historians of Colonial Hong Kong and Modern China.
This volume sign posts several paths of multimodality research and theory-building today. The chapters represent a cross-section of current perspectives on multimodal discourse with a special focus on theoretical and methodological issues (mode hierarchies, modelling semiotic resources as multiple semiotic systems, multimodal corpus annotation). In addition, it discusses a wide range of applications for multimodal description in fields like mathematics, entertainment, education, museum design, medicine and translation.
Essays written by an interdisciplinarty team of experts on Chinese cities and leading cultural critics. Aiming to steer away from an exclusive focus on mainland China, the adjective "Chinese" is given cultural meaning and includes places such as Singapore and Hong Kong.
Media Piracy in Emerging Economies is the first independent, large-scale study of music, film and software piracy in emerging economies, with a focus on Brazil, India, Russia, South Africa, Mexico and Bolivia. Based on three years of work by some thirty five researchers, Media Piracy in Emerging Economies tells two overarching stories: one tracing the explosive growth of piracy as digital technologies became cheap and ubiquitous around the world, and another following the growth of industry lobbies that have reshaped laws and law enforcement around copyright protection. The report argues that these efforts have largely failed, and that the problem of piracy is better conceived as a failure of affordable access to media in legal markets.
This book is an upper-level student source book for contemporary approaches to media studies in Asia, which will appeal across a wide range of social sciences and humanities subjects including media and communication studies, Asian studies, cultural studies, sociology and anthropology. Drawing on a wide range of perspectives from media and communications, sociology, cultural studies, anthropology and Asian studies, it provides an empirically rich and stimulating tour of key areas of study. The book combines theoretical perspectives with grounded case studies in one up-to-date and accessible volume, going beyond the standard Euro-American view of the evolving and complex dynamics of the media today.
Our everyday lives are increasingly being lived through electronic media, which are changing our interactions and our communications in ways that we are only beginning to understand. In Discourse 2.0: Language and New Media, editors Deborah Tannen and Anna Marie Trester team up with top scholars in the field to shed light on the ways language is being used in, and shaped by, these new media contexts. Topics explored include: how Web 2.0 can be conceptualized and theorized; the role of English on the worldwide web; how use of social media such as Facebook and texting shape communication with family and friends; electronic discourse and assessment in educational and other settings; multimodality and the "participatory spectacle" in Web 2.0; asynchronicity and turn-taking; ways that we engage with technology including reading on-screen and on paper; and how all of these processes interplay with meaning-making. Students, professionals, and individuals will discover that Discourse 2.0 offers a rich source of insight into these new forms of discourse that are pervasive in our lives.
This book draws on visual data, ranging from advertisements to postage stamps to digital personal photography, to offer a complex interpretation of the different social functions realised by these texts as semiotic artefacts. Framed within the media environment of the city of Hong Kong, the study demonstrates the importance of social context to meaning making and social semiotic multimodal analysis. This book will be of interest to readers in the arts, humanities and social sciences, particularly within the fields of semiotics, visual studies, design studies, media and cultural studies, anthropology and sociology.