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The essays in Rethinking Media Change center on a variety of media forms at moments of disruption and cultural transformation. The editors' introduction sketches an aesthetics of media transition—patterns of development and social dispersion that operate across eras, media forms, and cultures. The book includes case studies of such earlier media as the book, the phonograph, early cinema, and television. It also examines contemporary digital forms, exploring their promise and strangeness. A final section probes aspects of visual culture in such environments as the evolving museum, movie spectaculars, and "the virtual window." The contributors reject apocalyptic scenarios of media revolution, demonstrating instead that media transition is always a mix of tradition and innovation, an accretive process in which emerging and established systems interact, shift, and collude with one another.
This agenda-setting volume brings together leading scholars of media and public life to grapple with how media research can make sense of the massive changes rocking politics and the media world. Each author identifies a 'most pressing' question for scholars working at the intersection of journalism, politics, advocacy, and technology. The authors then suggest different research approaches designed to highlight real-world stakes and offer a path toward responsive, productive action. Chapters explore our 'datafied' lives, journalism's deep responsibilities and daunting challenges, media's inclusions (and non-inclusions), the riddle of digital engagement, and the obligations scholars must attempt to meet in an era of networked information. The result is a rich forum that addresses how media transformations carry serious implications for public life. Original, provocative, and generative, this book is international in its orientation and makes a compelling case for public scholarship.
This book links the growing connections between media, culture and religion into a coherent theoretical whole. It examines, amongst others, the effect on cultural practices and the increasing autonomy and individualized practice of religion.
This book develops a surveillance studies approach to social media by presenting first hand ethnographic research with a variety of personal and professional social media users. Using Facebook as a case-study, it describes growing monitoring practices that involve social media. What makes this study unique is that it not only considers social media surveillance as multi-purpose, but also shows how these different purposes augment one another, leading to a rapid spread of surveillance and visibility.
Rethinking Regional Innovation and Change brings together papers from leading international scholars in the field of regional development and policy. The contributors examine the interactions between path-dependent developments, institutions, and governance structures that influence regional innovation capacity. Up-to-date case studies present diverse theoretical perspectives from economics, political science, geography, planning, and public policy.
Living Room Wars brings together Ien Ang's recent writings on television audiences, and , in response to recent criticisms of cultural studies, argues that it is possible to study audience pleasures and popular television in a way that is not naively populist. Ang examines how the makers and marketers of television attempt to mould their audience and looks at the often unexpected ways in which the viewers actively engage with the programmes they watch. Living Room Wars highlights the inherent contradictions of a `politics of pleasure' of television consumption: Ang moves beyond the trditional forcus on textual meanings to explore the structural and historical representations fo television audiences as an integral part of modern culture. Her wide-ranging and illuminating discussion takes in the battle between television and its audiences; the politics of empirical audience research; new technologies and the tactics of television consumption; ethnography and radical contextualism in audience studies; television fiction and women's fantasy; feminist desire and female pleasure in media consumption, and the transnational media system.
Contends that the notions of media pluralism and diversity have been reduced to empty catchphrases or conflated with consumer choice and market competition.
This handbook on Mediatization of Communication uncovers the interrelation between media changes and changes in culture and society. This is essential to understand contemporary trends and transformations. “Mediatization” characterizes changes in practices, cultures and institutions in media-saturated societies, thus denoting transformations of these societies themselves. This volume offers 31 contributions by leading media and communication scholars from the humanities and social sciences, with different approaches to mediatization of communication. The chapters span from how mediatization meets climate change and contribute to globalization to questions on life and death in mediatized settings. The book deals with mass media as well as communication with networked, digital media. The topic of this volume makes a valuable contribution to the understanding of contemporary processes of social, cultural and political changes. The handbook provides the reader with the most current state of mediatization research.
The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the ‘recentness’ of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to ‘the nation’ and ‘transnationalism’ in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of ‘transnationalism’, that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with ‘nation-building’ in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.