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This book scrutinizes the relationship between contemporary TV shows and space, focusing on the ways in which these shows use and narrate specific spatial structures, namely, spaces far away from traditional metropolises. Beginning with the observation that many shows are set in specific spatial settings, referred to in the book as “nonplace territories” – e.g., North Jersey, New Mexico, or rural and suburban Western Germany – the author argues that the link between such nonplace territories and shows such as The Sopranos, Breaking Bad, or Dark is so intense because the narrative structure functions similarly to these territories: flat, decentralized, without any sense of structure or stable hierarchy. The book takes three different perspectives: first, it looks at the rationale for combining TV shows and nonplace territories from the viewpoint of narrative strategy. It then thinks through what these strategies mean for practicing architects. Finally, it approaches the arguments made before from a “user” perspective: what does this narrative mirroring of social-spatial reality in places such as Albuquerque or Jersey City mean for people living in these places? This new approach to architecture and space on screen will interest scholars and students of television studies, screen architecture, media and architectural theory, and popular culture.
An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computers and cash machines. This invasion of the world by what Marc Augé calls "non-space" results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Augé uses the concept of "supermodernity" to describe a situation of excessive information and excessive space. In this fascinating essay he seeks to establish an intellectual armature for an anthropology of supermodernity.
An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computers and cash machines. This invasion of the world by what Marc Augé calls “non-space” results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Augé uses the concept of “supermodernity” to describe a situation of excessive information and excessive space. In this fascinating essay he seeks to establish an intellectual armature for an anthropology of supermodernity.
Made in Sweden: Studies in Popular Music serves as a comprehensive and rigorous introduction to the history, sociology and musicology of twentieth-century Swedish popular music. The volume consists of essays by leading scholars of Swedish popular music and covers the major figures, styles and social contexts of pop music in Swedish. Although the vast majority of the contributors are Swedish, the essays are expressly written for an international English-speaking audience. No knowledge of Swedish music or culture will be assumed. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Swedish popular music; each section features a brief introduction by the volume editors. The book presents a general description of the history and background of Swedish popular music, followed by essays that are organized into thematic sections: The Historical Development of the Swedish Popular-Music Mainstream; The Swedishness of Swedish Popular-Music Genres; Professionalization and Diversification; and Swedish Artist Personas. Contributors: Jonas Bjälesjö Alf Björnberg Thomas Bossius Peter Dahlén Olle Edström Karin L. Eriksson Rasmus Fleischer Sverker Hyltén-Cavallius Lars Lilliestam Ulf Lindberg Morten Michelsen Susanna Nordström Marita Rhedin Henrik Smith-Sivertsen Ann Werner Kajsa Widegren
Traditional media literacy models are mostly left-brained, inherited from the legacy of alphabetic literacy, the Gutenberg press revolution, and industrial mass media production. New digital media radically alter the environment: their nonlinear, multisensory, field-like properties are more right-brain oriented. Consequently, rather than focus exclusively on deconstructing the products of design objects (such as an advertisement «text»), digital learning should respond to the design of the system itself, including cultural and cognitive bias. Mediacology proposes a design-for-pattern approach called «media permaculture», which restructures media literacy to be in sync with new media practices connected with sustainability and the perceptual functions of the right brain hemisphere. In the same way that permaculture approaches gardening by establishing the natural parameters of its ecological niche, media permaculture explores the individual's «mediacological niche» in the context of knowledge communities. By applying bioregional thinking to the symbolic order, media permaculture redresses the standard one-size-fits-all literacy model by taking into account diverse cognitive strategies and emerging convergence media practices. Antonio López applies a practical knowledge of alternative media, cross-cultural communication, and ecology to build a meaningful theory of media education.
This edited collection examines the effects that macrosystems have on the figuration of our everyday—of microdystopias—and argues that microdystopic narratives are part of a genre that has emerged in contrast to classic dystopic manifestations of world-shattering events. From different methodological and theoretical positions in fieldworks ranging from literary works and young adult series to concrete places and games, the contributors in Microdystopias: Aesthetics and Ideologies in a Broken Moment sound the depths of an existential sense of shrinking horizons – spatially, temporally, emotionally, and politically. The everyday encroachment on our sense of spatial orientation that gradually and discreetly diminishes the horizons of possibilities is demonstrated by examining what the forms of the microdystopic look like when they are aesthetically configured. Contributors analyze the aesthetics that play a particularly central and complex role in mediating, as well as disrupting, the parameters of dystopian emergences and emergencies, reflecting an increasingly uneasy relationship between the fictional, the cautionary, and the real. Scholars of media studies, sociology, and philosophy will find this book of particular interest.
Breaking Down Joker offers a compelling, multi-disciplinary examination of a landmark film and media event that was simultaneously both celebrated and derided, and which arrived at a time of unprecedented social malaise. The collection breaks down Joker to explore its aesthetic and ideological representations within the social and cultural context in which it was released. An international team of authors explore Joker’s sightlines and subtexts, the affective relationships, corrosive ideologies, and damning, if ambivalent, messages of this film. The chapters address such themes as white masculinity, identity and perversion, social class and mobility, urban loneliness, movement and music, and questions of reception and activism. With contributions from scholars from screen studies, theatre and performance studies, psychology and psychoanalysis, geography, cultural studies, and sociology, this fully interdisciplinary collection offers a uniquely multiple operational cross-examination of this pivotal film text and will be of great importance to scholars, students, and researchers in these areas.
ÔPrimecz, Romani, and Sackmann provide managers and educators with a powerful framework that goes beyond simple categorization of national and cultural differences in business. Their framework of negotiated meaning systems, and the rich cases that illustrate the Òin-the-momentÓ experiences of global managers as they conduct business in culturally unfamiliar milieus provide managers and educators with a powerful tool for developing global managerial skills. This is a book every global manager and cross-cultural educator should have on his or her bookshelf.Õ Ð Mark E. Mendenhall, University of Tennessee, Chattanooga, US ÔThis is a unique, alternative view of culture that has both practical and theoretical significance. The creative analysis of cases from around the world moves the field beyond the sophisticated stereotyping that can result from relying solely on cultural value dimensions to decode interactions. The cases address significant cross-cultural issues, providing useful lessons and richer perspectives on culture.Õ Ð Joyce Osland, San JosŽ State University, US ÔThis book is an excellent collection of practical and useful cases in cross-cultural management, with some that are very different from what we would call ÒtraditionalÓ cases in cross-cultural management. They are excellent teaching material with an introduction and a conclusion that show students and practitioners how meanings are negotiated in diverse and complex cross-cultural situations.Õ Ð Marie-Therese Claes, Louvain School of Management, Belgium ÔA fascinating book for both the diversity of cultures that are touched upon (from Asia and Africa to Europe and America) and the cultural analyses that are made of various management situations resulting from the transfer of management techniques across countries or the encountering of those embedded in different cultures.Õ Ð Philippe dÕIribarne, CNRS, France ÔA group of multidisciplinary authors from various countries and cultures bring rich experience to this volume. The focus on real-life situations offers a fresh perspective on culture in organizations and management through in-depth case studies including both academic and pedagogical sides. It addresses multi-level cross-cultural issues of international strategic importance for globalizing workplaces. This insightful book is excellent reading for practitioners as well as scholars and students interested in applications in the field of cross-cultural management.Õ Ð Cordula Barzantny, Toulouse Business School, France ÔThis volume offers an insightful introduction to qualitative field research aiming to understand the dynamics in intercultural business interactions. Based on the findings provided in ten rich cases from Asia, Europe, North Africa, USA and Latin America, the editors also propose strategies for more effective collaboration in challenging multiple-cultures contexts. The authors and editors have succeeded in transforming the field studies into cases that are stimulating and thought provoking readings, both for practitioners and students of cross-cultural management.Õ Ð Anne-Marie S¿derberg, Copenhagen Business School, Denmark Based on the view that culture is dynamic and negotiated between actors, this groundbreaking book contains a collection of ten cases on cross-cultural management in practice. The cases draw on field research revealing challenges and insights from working across nations and cultures. Each case provides recommendations for practitioners that are developed into a framework for effective intercultural interactions as well as offering illustrations and insights on how to handle actual cross-cultural issues. This enriching book covers various topics including international collaborations across and within multinational companies, organizational culture in international joint ventures and knowledge transfer. Based on empirical fieldwork and qualitative analyses, this path-breaking book will appeal to graduate and postgraduate students in international management as well as practitioners.
By the time readers encounter academic history in the form of books and articles, all that tends to be left of an author’s direct experience with archives is pages of endnotes. Whether intentionally or not, archives have until recently been largely thought of as discrete collections of documents, perhaps not neutral but rarely considered to be historical actors. This book brings together top media scholars to rethink the role of the archive and historical record from the perspective of writing media history. Exploring the concept of the archive forces a reconsideration of what counts as historical evidence. In this analysis the archive becomes a concept that allows the authors to think about the acts of classifying, collecting, storing, and interpreting the sources used in historical research. The essays included in this volume, from Susan Douglas, Lisa Gitelman, John Nerone, Jeremy Packer, Paddy Scannell, Lynn Spigel, and Jonathan Sterne, focus on both the theoretical and practical ways in which the archive has affected how media is thought about as an object for historical analysis. This book was published as a special issue of The Communication Review.