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We witness an era with more screens than ever before, and within each screen, a multitude of visual varieties. Lisa Gotto investigates this medial diversity as a field of tension between large and small forms of digital image culture. This includes, on the one hand, the immersive potential of large image arrangements, such as digital 3D cinema, and, on the other hand, the compactness of mobile image forms, such as those of the smartphone film or the media practices of Instagram. Weaving together a rich variety of examples and sources, this book presents a multifaceted collection of essays that explore the transformational potential of digital media culture, contextualize its media-technical conditions, and reflect on its social consequences.
In Too Bold for the Box Office, Cynthia J. Miller has assembled essays by scholars and filmmakers who examine the unique cinematic form of mockumentary. Individually, each of these essays looks at a given instance of mockumentary parody and subversion, examining the ways in which each calls into question our assumptions, pleasures, beliefs, and even our senses. Writing about national film, television, and new media traditions as diverse as their backgrounds, this volume's contributors explore and theorize the workings of mockumentaries, as well as the strategies and motivations of the writers and filmmakers who brought them into being.
It was as if American television audiences discovered the musical in the early 21st century. In 2009 Glee took the Fox Network and American television by storm with the unexpected unification of primetime programming, awkward teens, and powerful voices spontaneously bursting into song. After raking in the highest rating for a new show in the 2009-2010 season, Glee would continue to cultivate rabid fans, tie-in soundtracks and merchandising, and a spinoff reality competition show until its conclusion in 2015. Alongside Glee, NBC and Fox would crank up musical visibility with the nighttime drama Smash and a string of live musical productions. Then came ABC's comedic fantasy musical series Galavant and the CW's surprise Golden Globe darling Crazy Ex-Girlfriend. Television and the musical appeared to be a perfect match. But, as author Kelly Kessler illustrates, television had at that point been carrying on a sixty-year, symbiotic love affair with the musical. From Rodgers and Hammerstein's appearance on the first Toast of the Town telecast and Mary Martin's iconic Peter Pan airings to Barbra Streisand's 1960s CBS specials, The Carol Burnett Show, Cop Rock, Great Performances, and a string of one-off musical episodes of sitcoms, nighttime soaps, fantasy shows, and soap operas, television has always embraced the musical. Kessler shows how the form is written across the history of American television and how its various incarnations tell the stories of shifting American culture and changing television, film, and theatrical landscapes. She recounts and explores this rich, decades-long history by traversing musicals, stars, and sounds from film, Broadway, and Las Vegas to the small screen.
Writings on Media gathers more than twenty of Stuart Hall's media analyses, from scholarly essays such as “Encoding and Decoding in the Television Discourse” (1973) to other writings addressed to wider publics. Hall explores the practices of news photography, the development of media and cultural studies, the changing role of television, and how the nation imagines itself through popular media. He attends to Britain's imperial history and the politics of race and cultural identity as well as the media's relationship to the political project of the state. Testifying to the range and agility of Hall's critical and pedagogic engagement with contemporary media culture—and also to his collaborative mode of working—this volume reaffirms his stature as an innovative media theorist while demonstrating the continuing relevance of his methods of analysis.
While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010–2020), ABC's reality franchises, The Bachelor (2002–present) and The Bachelorette (2003–present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.
On Neurogenic Communication Disorders: Original Short Stories and Case Studies is a unique book. It is a collection of short stories and case studies about persons with neurogenic communication disorders. The short stories are based on people I have known as friends, acquaintances, or patients. The characters in the short stories are based on one person or a composite of several individuals. I have placed these characters in interesting fictional situations which provide a vehicle for showing their mettle in dealing with their communication disorders and life challenges. The case studies are based on actual clinical cases and situations, but literary license has been taken to make them reader-friendly and interesting. This book of short stories and case studies is not a scholarly clinical treatise on neurogenic communication disorders, nor does it aspire to be one. While I believe it provides accurate information about neurogenic communication disorders, it is a work of fiction and simply a different vehicle for understanding these complex and often devastating medical conditions.
Audiences for contemporary German film and television are becoming increasingly transnational, and depictions of German cultural history are moving beyond the typical post-war focus on German’s problematic past. Entertaining German Culture explores this radical shift, building on recent research into transnational culture to argue that a new process of internal and external cultural reabsorption is taking place through areas of mutually assimilating cultural exchange such as streaming services, an increasingly international film market, and the import and export of Anglo-American media formats.
* Good coverage of C# as well as Delphi for .NET. * Not a port of a Delphi book – tightly focused on what’s new which includes the FCL overview that you need to make sense of the Microsoft documentation. * Particularly clear and well-written.
Soundies Jukebox Films and the Shift to Small-Screen Culture is the first and only book to position what are called “Soundies” within the broader cultural and technological milieu of the 1940s. From 1940 to 1946, these musical films circulated in everyday venues, including bars, bowling alleys, train stations, hospitals, and even military bases. Viewers would pay a dime to watch them playing on the small screens of the Panoram jukebox. This book expands U.S. film history beyond both Hollywood and institutional film practices. Examining the dynamics between Soundies’ short musical films, the Panoram’s film-jukebox technology, their screening spaces and their popular discourse, Andrea J. Kelley provides an integrative approach to historic media exhibition. She situates the material conditions of Soundies’ screening sites alongside formal considerations of the films and their unique politics of representation to illuminate a formative moment in the history of the small screen.