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Am Beispiel der Stadt Frankfurt a.M. untersucht die interdisziplinäre Studie anhand dreier Fallstudien das komplexe Verhältnis zwischen gesellschaftlichen, politischen und medienkulturellen Transformationsprozessen und bürgerlicher Festkultur als Ort sozialer Bedeutungskonstruktion. Von historischen Stadt- und Künstlerfesten über politisch aufgeladene Schützenfeste bis hin zu spektakulären Industrie- und Gewerbeausstellungen werden die untersuchten Feste als theatrale Aufführungen verstanden, die die Veränderungen der Modernisierung um 1900 reflektieren und tiefe Einblicke in die soziokulturellen Umbrüche jener Zeit ermöglichen. Das Theatrale als bewusste und demonstrative Betonung des Zur-Schau-Stellens wird in dieser Studie als kulturelle Praxis gedeutet, die als Vermittler in einer Zeit der Umbrüche agieren kann: Indem die analysierten Feste abstrakte und ideologisch aufgeladene Konzepte wie Geschichte, Nation oder Modernisierung im Moment ihrer sinnlichen Zurschaustellung unmittelbar erfahrbar machen, ermöglichen sie eine Teilhabe an einem ästhetischen Erlebnis, das zum Verständnis und zur Akzeptanz der vermittelten Inhalte führen kann. Die Studie eröffnet damit eine neue Perspektiven auf die bislang gängigen Narrative der Kultur- und Modernisierungsgeschichte des 19. Jahrhunderts.

Etwa seit der Jahrtausendwende ist ein internationaler und nach wie vor anhaltender Boom von Adaptionen der griechisch-römischen Mythologie und Historie zu verzeichnen. Dieser ist durch eine bemerkenswerte mediale Vielfalt und Vernetzungsfreude gekennzeichnet. Folglich erstreckt sich die „modernste Antike“ unserer Zeit nicht nur auf hochliterarische Texte oder Neuinszenierungen antiker Dramen auf dem Theater, sondern entfaltet auch in gegenwärtigen Massenmedien vom Historienroman, dem Comic bis hin zum Hypermedium Themenpark und zum Alltagsmedium Internet seinen Wandlungsreichtum. Mithin scheint die Zeit der postmodernen Renaissance der Antike angebrochen zu sein. Die vielschichtigen Phänomene, die sich der altertumswissenschaftlichen Antikenrezeptionsforschung als Gegenstände bieten, sind mit dem Philosophen Hans Blumenberg (1920–1996) zu verstehen als Erscheinungsformen einer modernen Arbeit am Mythos. Als solche eröffnen sie Anschlussmöglichkeiten für neue Geschichten und Verfahrensmöglichkeiten zur ästhetischen und ethischen Auseinandersetzung mit den eigenen Grundfragen menschlichen Daseins im Spannungsfeld von Veralltäglichung und Entalltäglichung. Diese Forschungsaufgabe ist bislang in zahlreichen, teilweise weit verstreuten Einzeluntersuchungen angegangen worden. Oft handelt es sich um Fallstudien oder Ansätze zur Bündelung des reichen Materials. Dies hat zu einer erheblichen fachlichen und methodischen Heterogenität der Zugänge geführt. Dabei werden die sprach-, kulturraumspezifischen und medialen Unterschiede und Zusammenhänge in den Adaptionsstrategien allerdings oft nicht hinreichend reflektiert. Diese Lücke will dieser Band mit seiner synthetisierenden Anlage schließen. Er setzt sich zum Ziel, im Dialog der Fächer die als aussichtsreich erkannten Forschungsfelder vorzustellen. Innerhalb dieser Themenbereiche werden Untersuchungsdesigns für eine betont interdisziplinäre und intermediale Methodik erprobt. Diese streben eine systematische Zwischenbilanz der bisherigen Forschungserträge an und haben das Ziel, die bisherigen Ansätze synergetisch zu verweben. Der Band schafft eine Grundlage, um im Zusammenwirken der Disziplinen die Präsenz und die Bedeutung von Mythos und Historie der griechisch-römischen Antike in den europäischen Sprach- und Kulturräumen der Gegenwart punktgenau untersuchen und einordnen zu können.

Der Wille zur Wiederholung behandelt die Faszination eines Widerspruchs: Er richtet sich an alle, die in der Freizeit, bei der Lektüre von Literatur, im Kino oder vor dem Bildschirm darüber staunen, dass sie immer etwas anderes im Selben suchen. Warum den Spin Off einer TV-Serie anschauen? Warum die unablässige Lust auf formelhafte Kriminalgeschichten? Die Autorinnen und Autoren dieses Bandes sind gleichermaßen einer geheimnisvoll anmutenden Eigendynamik von Wiederholungsphänomenen auf der Spur. Egal, ob die Literatur der Serienproduktion von Plastik-Artikeln huldigt, Thomas Mann im Zauberberg die Szene einer Liegekur mehrmals aufgreift oder sich Serien- und Actionhelden in Zeitschleifen selbst begegnen: In den Analysen fallen immer wieder die Namen von Kierkegaard, Freud, Nietzsche, Bachtin, Benjamin und Deleuze. Der hier vorgelegte erste Band ist den Arrangements medialer Spielarten des Willens zur Wiederholung gewidmet, der nachfolgende zweite Band einem seiner prominentesten Akteure: dem Doppelgänger und seinen Anverwandten.

Das Songbuch der „Hauspostille“ sowie die Stücke „Baal“, „Im Dickicht“ und „Mann ist Mann“ reichten der „Wiener Morgenpost“ bereits 1927 aus, um Bert Brecht in das Pantheon der Unsterblichen aufzunehmen. Gleichzeitig feierte die deutsche Presse den Singer-Songwriter als „Volkssänger im Zeitalter des Wolkenkratzers“. 1928 avancierte der Dreißigjährige mit der „Dreigroschenoper“ zum Weltstar der Pop-Industrie, die gerade entstand und noch keinen Namen hatte. Brechts Werk der Weimarer Republik, bisher im Vorhof des späteren Klassikers abgestellt, entreißt Jan Knopf mit rasanten Geschichten seinen ideologischen Vereinnahmungen und entdeckt im sozialen Kontext den bisher unbekannten Erfolgsautor. Das Chaos ist aufgebraucht. Es war die beste Zeit. Mit fröhlicher Literaturwissenschaft wird's wieder Ereignis.

What are the ways audiences use the mass media, and what are the gratifications they receive from that usage? What functions do soap operas provide for the audience? Theories and research dealing with these questions are presented in the first chapter of the text.The second chapter concerns how knowledge of news is diffused throughout society, followed by how adoption of new innovations is spread. Research on the Knowledge Gap, as well as the diffusion of public opinion and the Spiral of Silence, is presented. The final two chapters concern Cultivation Theory and how fear is cultivated in children and adults by both entertainment shows and the news. Strategies for reducing such fear are presented. Media also cultivate beliefs about society, such as perceptions of the amount of crime and risk in society, environmental concerns, marital expectations, and attitudes toward racism and homosexuality. A section on International Cultivation is included.

Some (web) television texts achieve immense commercial success. Certain commercially successful texts boast dedicated, creative, and exponentially growing fandoms. These fan communities engage in specific fan practices that are significantly influenced by the textualities of the texts and their contexts of production, distribution, and consumption. Increased fan engagement resulting in the acceleration of the text's popularity leads to the following inquiries: · How is the series influenced by the interactions among and the relationships between the producers, consumers, distributors, and content? · What are the sites of these interactions? · What are the social, cultural, economic, and political factors that impact the series? · How do the text's contexts of production, distribution, and consumption lead to the text's popularity in mainstream media? In pursuit of an answer to these questions, the analytical lens of the ‘mediaverse'is developed. An inductive study, this book explores four television series'that fall within the scope of speculative fiction to characterise the mediaverse and highlight the interconnectedness among the networked nodes of new media. These wield a significant influence on the production and consumption of media and its presence in our everyday lives, thus outlining the mediaverse as a tool for the analysis of a media texts and practices that shape contemporary media culture.

An introductory critical internet studies text that builds upon media literacy and digital culture theory to offer a thorough examination of the intersection of online technology and culture.We are now collectively at a hinge point in the evolution of the web where online influencers can sway national discourse, geopolitical events are remixed through memes, and online harms are misunderstood. This book argues that people are generally aware that online media has repercussions in off-platform spaces, but sometimes lack the language to properly critique online trends, memes, and internet-born media. How are citizens, activists, and marginalized groups able to use these tools effectively and safely in these times? Jamie Cohen explores aspects of internet culture in an approachable manner, building upon critical media literacy and applying a critical technocultural analysis as a methodology to reimagine how media literacy can operate in an online media environment. The book explores key topics such as accessibility, the creator economy, content moderation, tech bias, platform capitalism, internet culture, and safety.Offering a new way of reading internet media and critiquing content and creators, this book is essential reading for students and scholars of digital culture, internet culture, media literacy, social media, and beyond.

A full-color interdisciplinary exploration of how media and mass communication shape society and how students can take control of their media futures.Today's students have a world of knowledge at their fingertips and no longer need books to list names and dates. What they need is the story of how everything fits together and the critical tools to take charge of their place within that story. David T. Z. Mindich's The Mediated World charts the story of media as it has shaped human life and as it infuses every aspect of our modern existence. Mindich's engaging narrative style focuses on concepts and real-world contexts to promote the media literacy students need to understand their personal relationships with media. Empowered as media consumers, creators, and curators, students realize their responsibility to work within the vast world of media to create more positive and productive futures.The second edition of this text brings historical media and overarching themes to life for students. Each chapter opens with a contemporary vignette that meets students in the current moment before encouraging them to consider the past. “Application” sidebars suggest practical activities that allow students to delve deeper into topics while “Reflection” boxes encourage students to think critically about their own media use. With a strong emphasis on media literacy that treats students as media stakeholders who have a vested interest in understanding its workings and effects, Mindich's text is the perfect book for a generation of students looking to take charge of their futures in this mediated world.New to the Second Edition:New chapter-opening vignettes connect with students in the current moment before welcoming them to consider the past.New Chapter 8, “Representation and the Lives that Matter in the Media,” encourages students to think critically about which people get to be heard and which are overlooked.New Chapter 13, “Hot and Cold Video Games,” critically explores a powerful media force in students'recreational lives. Expanded discussions on current cultural, political, and technological references, engaging with controversies.FeaturesFull color layout with photos and graphics to enrich students'reading experience.Integrated focus on representation in media reminds students of the pervasive impact of bias across society. Margin keyword definitions help students develop critical vocabularies. Three different feature boxes (Reflection, Application, and Now and Then) reinforce concepts and engage students'critical thinking skills.Chapter learning objectives, chapter summaries, and discussion questions reinforce historical frameworks and key concepts.Access ancillary materials at https://textbooks.rowman.com/mindich2e.For instructors: a test bank, lecture notes and slides, and a sample syllabus. For the students: chapter flashcards, a digital glossary, and videos and links.

How do social practices prefigure experiences, and how does embodied experience organize the performance of practices? This book suggests that the classic concept of style offers a fresh answer to the question how doings and sayings are linked into practice bundles. Based on a rich ethnographic study of the visual practices of the German-speaking freeskiing subculture, this work develops a theory of phenopractices, or embodied cultural practices dedicated to apprehending and expressing style. Focusing on the visual dimension, it extends the thought of Garfinkel and Schatzki using recent insights from science and technology studies and research at the intersection of neuroscience and phenomenology. This offers a new perspective on fundamental practice-theoretical questions about the nature of practice elements, social order in the context of rules and regularity, or action and practical intelligibility. Each chapter discusses and develops foundational concepts such as time, space, action, emotion, or perception based on an analysis of freeskiing practices such as planning a route in the backcountry, testing a new ski model, or judging freestyle contests. The central argument is that cultural styles of conduct are not only symbolic structures, but a functional resource which organizes situational intelligibility and thus enables social order based on aligned and managed embodied routines. Because the stabilization, dissemination, and evolution of such styles happens via different media, practice change is primarily influenced by media rather than symbolic, rational, or functional needs or ends. A rich ethnography and provocative theoretical argument of interest to anyone working on contemporary practice thought, advancing phenomenology, the sociology of vision, lifestyle sports, media, or practice evolution.

From fan-generated content on TikTok to music videos, the contemporary media landscape is becoming ever more vast, spectacular, and intense. In The Media Swirl Carol Vernallis examines short-form audiovisual media—Beyoncé's Lemonade, brief sequences from Baz Luhrmann's The Great Gatsby, TikTok challenges, YouTube mashups, commercials, and many other examples—to offer ways of understanding digital media. She analyzes music videos by Beyoncé, Lady Gaga, Janelle Monáe, Kendrick Lamar, Anderson.Paak, and others to outline how sound and image enhance each other and shape a viewer's mood. Responding to today's political-media landscape through discussions of Fox News and Presidential inaugurations, Vernallis shows how a media literacy that exceeds newscasts and campaign advertising is central to engaging with the democratic commons. Forays into industry studies, neuroscience, and ethics also inform her readings. By creating our own content and knowing what corporations, the wealthy, and the government do through media, Vernallis contends, we can create a more just world.

This volume explores culture-bound syndromes, defined as a pattern of symptoms (mental, physical, and/or relational) experienced only by members of a specific cultural group and recognized as a disorder by members of those groups, and their coverage in popular culture.Encompassing a wide range of popular culture genres and mediums – from film and TV to literature, graphic novels, and anime – the chapters offer a dynamic mix of approaches to analyze how popular culture has engaged with specific culture-bound syndromes such as hwabyung, hikikomori, taijin kyofusho, zou huo ru mo, sati, amok, Cuban hysteria, voodoo death, and others. Spanning a global and interdisciplinary remit, this first-of-its-kind anthology will allow scholars and students of popular culture, media and film studies, comparative literature, medical humanities, cultural psychiatry, and philosophy to explore simultaneously a diversity of popular cultures and culturally rooted mental health disorders.

This book focuses on key challenges related to conducting research on mediatisation, presenting the most current theoretical, empirical, and methodological challenges and problems, addressing ignored and less frequently discussed topics, critical and controversial themes, and defining niches and directions of development in mediatisation.With a focus on the under-representation of certain topics and aspects, as well as methodological, technological, and ethical dilemmas, the chapters consider the main critical objections formulated against mediatisation studies and exchange critical positions. Moving beyond areas of common focus – culture, sport, and religion – to emerging areas of study such as fashion, the military, business, and the environment, the book then offers a critical assessment of the transformation of fields and the relevance of new and dynamic (meta)processes including datafication, counter-mediatisation, and platformisation.Charting new paths of development in mediatisation, this book will be of interest to scholars and students of mediatisation, media studies, media literacy, communication studies, and research methods.

Podcasts boomen: Immer mehr Anbieter drängen mit eigenen Formaten auf den Markt. Gleichzeitig nimmt die regelmäßige Nutzung in allen Publikumsgruppen stetig zu. Diesen vielfältigen Potenzialen des neuen Mediums steht eine in Deutschland noch verhältnismäßig überschaubare Forschungslage gegenüber. Der Sammelband soll dazu beitragen, Podcasts als neues Forschungsfeld der Medien- und Kommunikationswissenschaft abzustecken. Der Sammelband erstreckt sich thematisch von den Podcaster•innen, dem Medium und seinen inhaltlichen Besonderheiten bis hin zum Rezeptionsprozess und den Hörer•innen.

Obwohl jeder Lebensbereich von digitalen Prozessen durchdrungen ist, scheint sich die Mehrheit der Deutschen bezüglich der Tätigkeit Lesen gegen digitale Alternativen zu wehren. Das gedruckte Buch genießt weiterhin wesentlich stärkere Beliebtheit als das eBook. Das erscheint verwunderlich, da sich doch das gesamte Kommunikationsverhalten auf digitale Geräte ausgelagert hat. Was also liegt dahinter? Wieso gibt es in digitalen Zeiten immer noch gedruckte Bücher? Bisherige Untersuchungen des gedruckten Buchs konzentrierten sich primär auf seine mediale Zukunft, da diese durch die Digitalisierung bedroht schien. Janina Krieger untersucht in dieser Arbeit stattdessen die Vergangenheit aus drei Perspektiven, um Erkenntnisse über die Gegenwart gewinnen zu können. Während andere Studien stets eine Methode wählten und diese meist dem quantitativen Vorgehen zugehörig waren, werden hier drei Subjekte identifiziert, die mit unterschiedlichen Methoden untersucht werden und in ihrer Kombination eine Antwort auf die Forschungsfrage liefern können: die Konsumenten von Literatur (die Leser), die Literatur selbst (ausgewähltes Genre ist der Roman) sowie die Medientheorien des 20. Jahrhunderts, die sich mit dem Medienwandel bereits auseinandergesetzt haben.

This book takes a radically new approach to the well-worn topic of children's relationship with the media, avoiding the'risks and benefits'paradigm while examining very young children's interactions with film and television. Bazalgette proposes a refocus on the learning processes that children must go through in order to understand what they are watching on televisions, phones, or iPads. To demonstrate this, she offers unique insight from research done with her twin grandchildren starting from just before they were two years old, with analysis drawn from the field of embodied cognition to help identify minute behaviours and expressions as signals of emotions and thought processes. The book makes the case that all inquiry into early childhood movie-viewing should be based on the premise that learning–usually self-driven–is taking place throughout.

Games als Bestandteil der Popkultur – Utopien in Games – Medienpädagogische Ansätze, Games nutzbar zu machen. Der Band vereint die Beiträge zum Science MashUp 2021, das die traditionsreiche 15. Lange Nacht der Computerspiele an der HTWK Leipzig begleitet. Er verbindet kulturelle, technische und narrative Ansätze der Game Studies.

This volume provides engaging accounts with transmedia practices in the long nineteenth century and offers model analyses of Victorian media (e.g., theater, advertising, books, games, newspapers) alongside the technological, economic, and cultural conditions under which they emerged in the Anglophone world.By exploring engagement tactics and forms of audience participation, the book affords insight into the role that social agents – e.g., individual authors, publishing houses, theatre show producers, lithograph companies, toy manufacturers, newspaper syndicates, or advertisers – played in the production, distribution, and consumption of Victorian media. It considers such examples as Sherlock Holmes, Kewpie Dolls, media forms and practices such as cut-outs, popular lectures, telephone conversations or early theater broadcasting, and such authors as Nellie Bly, Mark Twain, and Walter Besant, offering insight into the variety of transmedia practices present in the long nineteenth century.The book brings together methods and theories from comics studies, communication and media studies, English and American studies, narratology and more, and proposes fresh ways to think about transmediality. Though the target audiences are students, teachers, and scholars in the humanities, the book will also resonate with non-academic readers interested in how media contents are produced, disseminated, and consumed, and with what implications.

Das Ringen mit und um Sprache und seine Verschränkung mit Leiblichkeit sind zentrale Themen Josef Winklers. Die existentiellen sowie materiellen und medialen Aspekte des Schreibens bilden den Kern seiner performativen Poetologie. Sie ist seit von Anfang an sowohl intertextuell als auch inter- und transmedial geprägt und strahlt über Literatur hinaus in eine allgemeine Ästhetik. Auf Basis eines breiten kulturanthropologischen Medienbegriffs, der von Sprache als audiovisuellem Archimedium des Menschen ausgeht, zeichnen die Beiträge des Bandes anhand konkreter Beispiele aus Winklers Werk und Schreiben intertextuelle Bezüge sowie intermediale Verbindungen zu Film, Fotografie, bildender Kunst, Theater und Zirkus nach. Oder aber sie verfolgen die transmedialen Umwandlungen, die im Verlauf des Schreib- und Publikationsprozesses von der Handschrift bis zum Buch führen – bis hin zu der Frage, wie Literatur und Schreiben ausstellbar sein können. Dabei werden poetologisch-produktionsästhetische Ansätze auf wirkungsästhetische Ziele des Autors und damit auf seine Leserinnen und Leser hin geöffnet.

The new edition of the highly respected Researching Communications is a comprehensive and authoritative guide to researching media and communication. Researching Communications, Third Edition is an invaluable guide to performing and analysing research tasks, introducing the major research methods, giving detailed examples of research analysis and practical step-by-step guidance in clear language. Written by highly regarded experts in the field, the third edition includes new sections on social media analysis, digital research methods and comparative research, as well as updated case studies, international examples and details of recent developments in media and communication studies.Undergraduate and postgraduate media and communication students will find Researching Communications an invaluable resource at all stages of their course.

What was the perception of Greece in Europe during the later nineteenth century, when the attraction of romantic philhellenism had waned? This volume focuses on the reception of medieval and modern Greece in the European press, rigorously analysing journals and newspapers published in England, France, Germany, Italy, and The Netherlands. The essays here suggest that reactions to the Greek state's progress and irredentist desires were followed among the European intelligentsia. Concurrently, new scholarship on the historical development of the Greek language and vernacular literature enhanced the image of medieval and modern Greece. This volume's contributors consider the press's role in this Europe-wide exchange of ideas, explore the links between romantic and late philhellenism and highlight the scholarly nature of the latter. Moreover, they highlight the human aspects of cultural transfers by focusing on networks of mediators, publishers and scholarly collaborators. This context enhances our understanding of both the creation of Hellenic studies and the complex formation of the modern Greek identity.

This book reflects and analyzes the relationship between media and genre, focusing on both aesthetics and discursive meaning. It considers genres as having a decisive impact on media cultures, either in film, on TV, in computer games, comics or radio, on the level of production as well as reception. The book discusses the role of genres in media and cultural theory as a configuration of media artifacts that share specific aesthetic characteristics. It also reflects genre as a concept of categorization of media artifacts with which the latter can be analyzed under terms depending on a specific historical situation or cultural context. A special focus is placed on trans-media perspectives. Even as genres develop their own traditions within one medium, they reach beyond a media-specific horizon, necessitating a double perspective that considers the distinct recourse to genre within a medium as well as the trans-media circulation and adaption of genres.

This open access book promotes the idea that all media types are multimodal and that comparing media types, through an intermedial lens, necessarily involves analysing these multimodal traits. The collection includes a series of interconnected articles that illustrate and clarify how the concepts developed in Elleström's influential article The Modalities of Media: A Model for Understanding Intermedial Relations (Palgrave Macmillan, 2010) can be used for methodical investigation and interpretation of media traits and media interrelations. The authors work with a wide range of old and new media types that are traditionally investigated through limited, media-specific concepts. The publication is a significant contribution to interdisciplinary research, advancing the frontiers of conceptual as well as practical understanding of media interrelations. This is the first of two volumes. It contains Elleström's revised article and six other contributions focusing especially onmedia integration: how media products and media types are combined and merged in various ways.

Nick Couldry is one of the world's leading analysts of media power and voice, and has been publishing widely for 25 years. This volume, published 20 years after The Place of Media Power, brings together a rich collection of essays from his earliest to his latest writings, some of them hard to access, plus two previously unpublished chapters. The book's 15 chapters cover a variety of themes from voice to space, from Big Data to democracy, and from art to reality television. Taken together, they give a unique insight into the range of Couldry's interests and passions. Throughout, Couldry's commitment to connecting media research to wider debates in philosophy and social theory is clear. A substantial Afterword reflects on the common themes that run throughout his work and this volume, and the particular challenges of grasping media's contribution to social order in an age of datafication. A preface by leading US media scholar Jonathan Gray sets these essays in context. The result is an exciting and clearly-written text that will interest students and researchers of media, culture and social theory across the world.

Today's students have a world of knowledge at their fingertips, and no longer need textbooks filled with names and dates crammed into a single volume. The Mediated World takes as its starting point the understanding that readers want a compelling story, a good read, an intelligent analysis, and a new way of looking at the media revolutions around us. It is designed as a life line to help students understand and interpret the sea of media washing over us all. In this text, David Mindich writes for students who want to understand how we communicate to one another, how we process our world, and how the media shapes us. His engaging and narrative style focuses on concepts and real-world contexts--he avoids a dry recitation of facts--that helps students understand their own personal relationship with media and gives them the tools to push back against the media forces. One of the primary goals of The Mediated World is to empower readers by giving them a thorough understanding of the media; and by teaching them how to counter the force of the media and at the same time use this force for their own ends. Readers of this book come to recognize that they have the potential to be not only active consumers of media but producers of it on a scale never seen before. Visit www.themediatedworld.com to learn more about this book.

This open access book promotes the idea that all media types are multimodal and that comparing media types, through an intermedial lens, necessarily involves analysing these multimodal traits. The collection includes a series of interconnected articles that illustrate and clarify how the concepts developed in Elleström's influential article The Modalities of Media: A Model for Understanding Intermedial Relations (Palgrave Macmillan, 2010) can be used for methodical investigation and interpretation of media traits and media interrelations. The authors work with a wide range of old and new media types that are traditionally investigated through limited, media-specific concepts. The publication is a significant contribution to interdisciplinary research, advancing the frontiers of conceptual as well as practical understanding of media interrelations. This is the second of two volumes. It contains a concluding article by Elleström and seven contributions concentrated on the issueof media transformations: how media characteristics are transferred and transfigured among various media products and media types.

Gaming in Deutschland und speziell in Sachsen – quo vadis? Playful Work, Game Thinking, Gamification – nur Buzzwords? Was ist transmediales Storytelling? Der Band vereint die Beiträge zum Science MashUp, das 2020 erstmals die traditionsreiche 14. Lange Nacht der Computerspiele an der HTWK Leipzig begleitet hat. Er verbindet sozial- und kulturwissenschaftliche Beiträge mit Praxisbeiträgen und Interviews aus Wirtschaft und Wissenschaft und bringt Akteure aus den Bereichen Kunst, Hochschulen und Unternehmen mit Gamern, Game-Interessierten und Game-Produzierenden zusammen. Der Band ist damit Ausgangspunkt für künftige Entwicklungen und Überlegungen in den Game Studies, der Games-Branche und verwandten Bereichen.

YouTube hosts one billion visitors monthly and sees more than 400 hours of video uploaded every minute. In her award winning book, Thanks for Watching, Patricia G. Lange offers an anthropological perspective on this heavily mediated social environment by analyzing videos and the emotions that motivate sharing them. She demonstrates how core concepts from anthropology—participant-observation, reciprocity, and community—apply to sociality on YouTube. Lange's book reconceptualizes and updates these concepts for video-sharing cultures. Lange draws on 152 interviews with YouTube participants at gatherings throughout the United States, content analyses of more than 300 videos, observations of interactions on and off the site, and participant-observation. She documents how the introduction of monetization options impacted perceived opportunities for open sharing and creative exploration of personal and social messages. Lange's book provides new insight into patterns of digital migration, YouTube's influence on off-site interactions, and the emotional impact of losing control over images. The book also debunks traditional myths about online interaction, such as the supposed online/offline binary, the notion that anonymity always degrades public discourse, and the popular characterization of online participants as over-sharing narcissists. YouTubers'experiences illustrate fascinating hybrid forms of contemporary sociality that are neither purely mediated nor sufficient when conducted only in person. Combining intensive ethnography, analysis of video artifacts, and Lange's personal vlogging experiences, the book explores how YouTubers are creating a posthuman collective characterized by interaction, support, and controversy. In analyzing the tensions between YouTubers'idealistic goals of sociality and the site's need for monetization, Thanks for Watching makes crucial contributions to cultural anthropology, digital ethnography, science and technology studies, new media studies, communication, interaction design, and posthumanism. For its perceptive analysis of video blogging for self-expression and sociality, Thanks for Watching received the Franklyn S. Haiman Award for Distinguished Scholarship in Freedom of Expression (2020), from the National Communication Association.

Visual Communication: Understanding Images in Media and Culture provides a theoretical and empirical toolkit to examine implications of mediated images. It explores a range of approaches to visual analysis, while also providing a hands-on guide to applying methods to students′ own work. The book: Illustrates a range of perspectives, from content analysis and semiotics, to multimodal and critical discourse analysis Explores the centrality of images to issues of identity and representation, politics and activism, and commodities and consumption Brings theory to life with a host of original case studies, from celebrity videos on Youtube and civil unrest on Twitter, to the lifestyle branding of Vice Media and Getty Images Shows students how to combine approaches and methods to best suit their own research questions and projects An invaluable guide to analysing contemporary media images, this is essential reading for students and researchers of visual communication and visual culture.

Since 2006, Henry Jenkins's Confessions of an Aca-Fan blog has hosted interviews in which academics, activists, and artists have shared their views on the changing media landscape. For the first time, Jenkins – often called “the Marshall McLuhan for the twenty-first century” – compiles some of these interviews to highlight his recurring interests in popular culture and social change. Structured around three core concepts – culture, learning, politics – and designed as a companion to Participatory Culture in a Networked Era, this book broadens the conversation to incorporate diverse thinkers such as David Gauntlett, Ethan Zuckerman, Sonia Livingstone, S. Craig Watkins, James Paul Gee, Antero Garcia, Stephen Duncombe, Cathy J. Cohen, Lina Srivastava, Jonathan McIntosh, and William Uricchio. With an introduction from Jenkins and reflections from each interviewee, this volume speaks to a sense of crisis as contemporary culture has failed to fully achieve the democratic potentials once anticipated as a consequence of the participatory turn. This book is ideal for students and scholars of digital media, popular culture, education, and politics, as well as general readers with an interest in the topic.

Die digitalen Medienkulturen haben in den Künsten zur Herausbildung neuartiger Konfigurationen geführt, die sich im Wesentlichen als Austauschbeziehungen heterogener Praxisfelder bestimmen lassen. Es sind künstlerische Verfahren entstanden, die weder einen gesicherten institutionellen Ort noch medialen Rahmen besitzen. Stattdessen markieren Bewegungen des Übersetzens, des Zirkulierens, des Intervenierens und des Gruppierens die Bedingungen ihrer Produktion und Erfahrung. Aus unterschiedlichen Blickwinkeln (Film-, Tanz-, Theater und Medienwissenschaft) entwickeln die Beiträger•innen des Bandes Methoden und Konzepte, um diese prozessorientierten ästhetischen Verfahrensweisen zu beschreiben.

From Méliès to New Media contributes to a dynamic stream of film history that is just beginning to understand that new media forms are not only indebted to but firmly embedded within the traditions and conventions of early film culture. Adopting a media archaeology, this book will present a comparative examination of cinema including early film experiments with light and contemporary music videos, silent film and their digital restorations, German Expressionist film and post-noir cinema, French Gothic film and the contemporary digital remake, Alfred Hitchcock's films exhibited in the gallery, post medium films as abstracted light forms and interactive digital screens revising experiments in precinema. Media archaeology is an approach that uncovers the potential of intermedial research as a fluid form of history. It envisages the potential of new discoveries that foreground forgotten or marginalised contributions to history. It is also an approach that has been championed by influential new historicists like Thomas Elsaesser as providing the most vibrant and productive new histories (2014).

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground.Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments.The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world. The book is available for free in PDF format as Open Access at www.taylorfrancis.com. It has been made available under a a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

This is the first scholarly book dedicated to reading the work of contemporary filmmakers and their impact on modern marketing and advertising. Drawing from consumer culture theory, film and media studies, the author presents an expansive analysis of a range of renowned filmmakers who have successfully applied their aesthetic and narrative vision to commercial advertising. It challenges some traditional advertising tropes and sheds light on the changing nature of advertising in the contemporary media context. Utilising Deleuze and Guattari's notion of assemblage, this book addresses themes of spatiality and time, narrative and aesthetics and consumer reception within a new frame of reference that re-contextualises classical concepts of genre, platform and aesthetic categories. These diverse elements are embedded into a larger discussion of the resonance of contemporary advertising for consumer culture and the implications of the hybridity characteristic of convergent media platforms for understanding the potential of advertising in the twenty-first century. It offers a cutting-edge, interdisciplinary perspective for researchers, academics, and practitioners working in marketing communications, advertising, and media studies.

Today we recognize that we have a different relationship to media technology--and to information more broadly--than we had even five years ago. We are connected to the news media, to our jobs, and to each other, 24 hours a day. But many people have found their mediated lives to be too fast, too digital, too disposable, and too distracted. This group--which includes many technologists and young people--believes that current practices of digital media production and consumption are unsustainable, and works to promote alternate ways of living. Until recently, sustainable media practices have been mostly overlooked, or thought of as a counterculture. But, as Jennifer Rauch argues in this book, the concept of sustainable media has taken hold and continues to gain momentum. Slow media is not merely a lifestyle choice, she argues, but has potentially great implications for our communities and for the natural world. In eight chapters, Rauch offers a model of sustainable media that is slow, green, and mindful. She examines the principles of the Slow Food movement--humanism, localism, simplicity, self-reliance, and fairness--and applies them to the use and production of media. Challenging the perception that digital media is necessarily eco-friendly, she examines green media, which offers an alternative to a current commodities system that produces electronic waste and promotes consumption of nonrenewable resources. Lastly, she draws attention to mindfulness in media practice-- “mindful emailing” or “contemplative computing,'for example--arguing that media has significant impacts on human health and psychological wellbeing. Slow Media will ultimately help readers understand the complex and surprising relationships between everyday media choices, human well-being, and the natural world. It has the potential to transform the way we produce and use media by nurturing a media ecosystem that is more satisfying for people, and more sustainable for the planet.

The relationship between economy, finance and society has become opaque. Quantum leaps in complexity and scale have turned this deeply interdependent web of relations into an area of incomprehensible abstraction. And while the economization of life has come under widespread critique, inquiry into the political potential of representational praxis is more crucial than ever. This volume explores ethical, aesthetic and ideological dimensions of economic representation, redressing essential questions: What are the roles of mass and new media? How do the arts contribute to critical discourse on the global techno-economic complex? Collectively, the contributions bring theoretical debate and artistic intervention into a rich exchange that includes but also exceeds the conventions of academic scholarship.

This book examines how African, Asian, Middle Eastern and Latin American diasporas use media to communicate among themselves and to integrate into European countries. Whereas migrant communities continue employing print and broadcasting technologies, the rapidly growing applications of Internet platforms like social media have substantially enriched their interactions. These communication practices provide valuable insights into how diasporas define themselves. The anthology investigates varied uses of media by Ecuadorian, Congolese, Moroccan, Nepalese, Portugal, Somali, Syrian and Turkish communities residing in Belgium, Germany, Italy, the Netherlands, Spain, Sweden and the UK. These studies are based on research methodologies including big data analysis, content analysis, focus groups, interviews, surveys and visual framing, and they make a strong contribution to the emerging theory of diasporic media.

This collection examines the nerd and/or geek stereotype in popular culture today. Utilizing the media—film, TV, YouTube, Twitter, fiction—that often defines daily lives, the contributors interrogate what it means to be labeled a “nerd” or “geek.” While the nerd/geek that is so easily recognized now is assuredly a twenty-first century construct, an examination of the terms'history brings a greater understanding of their evolution. From sports to slasher films, Age of the Geek establishes a dialogue with texts as varied as the depictions of “nerd” or “geek” stereotypes.

Arguing for a paleocybernetic approach to current media studies debates, Nicolas Salazar Sutil develops an original framework for a new media ecology that embraces the primitive, the prehistoric, and the brute. Paying serious attention to materials used for cultural mediation that are unprocessed, unexplained, and raw such as bones and limestones, Salazar Sutil posits that advanced industrialisation of new media technology has prompted countercultural movements that call for radical new ways of transmitting culture, for instance through an experiential and high-tech appreciation of prehistoric landscape heritage. The future calls for a Palaeolithic awareness of living landscape as medium for the embodied transmission of cultural imaginaries and memories. The more media technology spurs mass forms of instantaneous media communication, the greater the need for primitive knowledge of earthling body and earthly landscape, our prime media for sustainable cultural transmission.

New media is becoming integral to our lives. But for how long can we refer to emerging media as new in this fast-moving digital age? What makes it'new'? And what problems do interactive media create for us, as cultural beings? This book investigates the culture and context of new media. Exploring and critiquing debates drawn from media and cultural theory, Fuery clearly explores and defines the concepts of new media and interactivity. With a clear and structured approach, the book questions existing ideas about digital culture and explains the problems that emerging technologies can present to our culture, from issues of surveillance and power to the digitalisation of the body.In particular, the book includes:- A variety of perspectives and approaches to the idea of the'new'.- Consideration and evaluation of work from key media theorists, from Foucault to Bourdieu.- Relevant and innovative examples that bring the complexities of new media to life.- A glossary for quick reference and explanation of complex concepts.New Media: Culture and Image interrogates the key concepts, models and approaches surrounding the formation and evolution of new media. It will encourage all students of Cultural Studies and Media Studies to question and reconsider their ideas about media and cultural theory.

Der Sammelband beruht auf der Annahme, dass Medientechnologien, Medienpraktiken sowie Medienbilder und die Konstitution und Vermittlung sozialer Realität in einem reziproken Verhältnis zueinander stehen. Es werden kulturell-normative Deutungsmuster sowie Rezeptionspraktiken transportiert, die weitgehende Implikationen auf Gesellschaft haben. Digitale Informations- und Kommunikationstechnologien erweitern mediale Darstellungen, Diskurse und Verhandlungen sozialer Konflikte. Im Zuge dessen werden gleichsam private Konflikte, das Konflikthandeln selbst, zunehmend medienvermittelt. Entsprechende kulturelle Aneignungs- und Rezeptionsprozesse von Akteuren führen zu neuen Konfliktfigurationen. Die dabei entstehenden Konfliktformen werden in unterschiedlichen Massenmedien aufgegriffen, was eine intermediale Komponente von Konfliktkommunikation zum Ausdruck bringt.

Seit der Formierung von populären Kulturen ab Mitte des 19. Jahrhunderts gehören auch Wissens- und Wissenschaftsformate zum festen Ensemble ihrer Formate, Produktionen, Serien und Figurenkonstellationen. Die Beiträge des Bandes diskutieren das Komplementärverhältnis von Wissen(schaft) und Wissen(schafts)popularisierung, ihre synergetischen Beziehungen und soziokulturellen Auswirkungen, die Eigenlogik sich wandelnder Medienformate und Präsentationsformen sowie ihre Einschreibung in den Prozess der Wissenskonstitution. Dabei fokussieren sie sich auf populärkulturelle Medialisierungen historischer Szenen des Wissens und der Wissenschaften zwischen dem späten 19. und frühen 21. Jahrhundert in den Medien Bühne, Buch, Zeitschrift, Fernsehen und Internet.

This book intertwines phenomenological fieldwork with a wide range of Heidegger's writings to explore how our everyday uses of mobile media technologies permit a unique avenue to rediscover poiēsis, our creative cultivation that is simultaneously a bringing forth, a revealing. Shining a light on poiēsis better allows us to see how human beings are, at their core, dwellers that disclose worlds and cultivate meaning. In our chaotic modern world, our ability to appreciate this foundational feature of our existence seems to be fading from view. Such forgetting has fractured our confidence; we increasingly question, doubt, and struggle with what unfolds before us. This book thus argues that we ought to look towards our intimate and recursive mobile media practices as the avenue for which we can revitalize poiēsis, as doing so allows us a purview into how we are always situated in a meaningful locale, playing an imperative role in its continued cultivation.

This book draws on agenda setting theory to examine how cultural organizations relate to media in order to increase their visibility, valence, and eventually build their public image. Most organizations have a keen interest in their symbolic presence, as their media visibility influences public knowledge, perceptions and even behaviors. Diminished public funding, in combination with the global proliferation of cultural entities, creates a competitive environment, leading to a transformation of cultural industries. In the book, several questions are under scrutiny: How do cultural organizations acquire symbolic significance? How do they become prominent in media content? Which mechanisms and processes should be examined by cultural managers as they set out to achieve salience? Is there a relationship between media and public salience? In other words, if an organization becomes symbolically prominent, in what ways is the public influenced, both in terms of perceptions as well as behaviors?

This project offers a new critique of participatory media practices. While the concept of participatory culture is often theorised as embodying the possibility of a potentially utopian future of media engagement and participation, this book argues that the culture industry, as it adapts and changes, provides moments of authorised participation that play out under the dominance of the industry. Through a critical recounting of the experience of creating a web series in Australia (with a global audience) outside of the culture industry structures, this book argues< that whilst participatory culture employing convergent media technologies enables media consumers to become media producers, this takes place through platforms controlled by industry. The emerging architecture of the Internet has created a series of platforms whereparticipation can take place. It is these platforms that become spaces of controlled access to participatory cultural practices.

Exploring the Roots of Digital and Media Literacy through Personal Narrative provides a wide-ranging look at the origins, concepts, theories, and practices of the field. This unique, exciting collection of essays by a range of distinguished scholars and practitioners offers insights into the scholars and thinkers who fertilized the minds of those who helped shape the theory and practice of digital and media literacy education. Each chapter describes an individual whom the author considers to be a type of “grandparent.” By weaving together two sets of personal stories—that of the contributing author and that of the key ideas and life history of the historical figure under their scrutiny—major concepts of digital media and learning emerge.

This volume captures the essence of how we communicate differences in relationships, between and across cultures, in organizations, through education and in moments of local and global conflict and crisis that demonstrates the importance and viability of approaching peace and conflict communication from various fields within communication studies.

The first of its kind, this book focuses on empirical studies into creative output that use and test the systems approach. The collection of work from cultural studies, sociology, psychology, communication and media studies, and the arts depicts holistic and innovative ways to understand creativity as a system in action.

'Discussions about the contemporary online world are often in a one-dimensional manner shaped by moral panics about online trolling, cyberbullying, cybercrime, terrorists online, etc. The associated right-wing extremist agenda for Internet politics is about control, surveillance and censorship. Vince Miller's book questions this agenda and is an excellent work for understanding how to use philosophical thought for the analysis of ethics, privacy and disclosure in this turbulent world of the Internet in the information society. It shows how to come to grips with the contested relationship between online freedom and control.'- Christian Fuchs, University of Westminster, Author of Social Media: A Critical Introduction By investigating three issues which have captured the public imagination as ′problems′ emerging directly from the contemporary use of communications technology (anti-social behaviour, privacy and free speech online), Vincent Miller explores how the digital revolution is challenging our notion of ′self′ and ′presence′. Through a critical and philosophical examination of each of these cases, he argues that they have at their root the same phenomena: ‘a crisis of presence'. Focussing on the concept of presence, and the challenges that our changing presence poses to our ethics, privacy and public discourse, Miller illustrates how ubiquitous communication technologies have created a disjuncture between how we think we exist in the world and how we actually do exist through our use of such devices. The solution, he claims, is not to focus exclusively on ‘content'and its regulation as much as it is to examine, understand and resist the alienating aspects of the media itself, such as the technological ordering, metaphysical abstraction and mediation which increasingly define our social encounters and presences. He suggests that such resistance involves several ambitious revisions in our ethical, legal and technological regimes.

Production Studies, The Sequel! is an exciting exploration of the experiences of media workers in local, global, and digital communities—from prop-masters in Germany, Chinese film auteurs, producers of children's television in Qatar, Italian radio broadcasters, filmmakers in Ethiopia and Nigeria, to seemingly-autonomous Twitterbots. Case studies examine international production cultures across five continents and incorporate a range of media, including film, television, music, social media, promotional media, video games, publishing and public broadcasting.Using the lens of cultural studies to examine media production, Production Studies, The Sequel! takes into account transnational production flows and places production studies in conversation with other major areas of media scholarship including audience studies, media industries, and media history. A follow-up to the successful Production Studies, this collection highlights new and important research in the field, and promises to generate continued discussion about the past, present, and future of production studies.

De la multiplication des écrans, faut-il conclure à une mutation du spectateur? Après avoir interrogé la notion de spectateur face à la multiplication des écrans et des plateformes, les auteurs explorent ces nouveaux dispositifs, les usages récemment apparus et s'intéressent aux nouveaux secteurs de recherche. Voici décrites ces pratiques qui combinent plusieurs écrans, se prolongent entre les plateformes et créent des expériences inédites.