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Cet ouvrage collectif en sciences de l'information et de la communication étudie les représentations du genre dans les médias. Y sont abordées les dimensions tant sémiotiques et discursives que sociales et politiques des médiations du genre dans les dispositifs médiatiques. Après un chapitre introductif qui revient sur la généalogie de la prise en charge du genre dans le champ des SIC, cet ouvrage déploie sept études de cas médiatiques inédites. Chacune propose des analyses communicationnelles innovantes de différentes problématiques ayant trait au genre dans des corpus médiatiques situés (presse spécialisée ou généraliste, films, affiches) sur diverses thématiques (mode, violences faites aux femmes, grossesse et sport, cinéma, peopolitique, congé paternité, intersectionnalité). L'ouvrage comporte deux parties : la première s'attache à penser la dimension corporelle des technologies du genre que sont les médias étudiés tandis que la seconde examine des discours médiatiques à l'aune du genre comme matrice politique signifiante.

En este gran teatro del engaño participaron periodistas, expertos y diplomáticos de diferentes países, pero también el público en general... Un explosivo libro de denuncia que aborda el tratamiento mediático, político y judicial del caso de la banda de los Zodiaco. Prólogo de Miguel Sarre. La justicia aún no ha esclarecido el enigma que rodea a la banda de los Zodiaco. En la actualidad, seis mexicanos, víctimas del mismo montaje que la francesa Florence Cassez, siguen encarcelados y acusados de formar parte de una supuesta organización criminal. No obstante, la manipulación va más allá de la puesta en escena mediática que se denunció. Un hombre, Israel Vallarta, a todas luces inocente de los crímenes que le atribuyen, fue exhibido junto a Florence Cassez como parte de una diabólica pareja de secuestradores. En este libro, la periodista Emmanuelle Steels desmonta los mecanismos de manipulación utilizados en este caso emblemático.

La console Wii, comme la Xbox 360 Kinect et la Play Station Move bouleversent les modalités d'interaction des objets informatiques que nous utilisons. Dans nos salons, s'installe une console de jeux vidéo qui connecte une petite barre de caméras infrarouges à un accéléromètre pour venir capter les corps en mouvement. Le canapé est poussé et les meubles réorganisés le temps d'un moment entre amis. Avec ces interfaces tangibles apparaît donc le « touché » dans l'interaction homme-ordinateur et le plaisir de jouer ensemble.

Les articles réunis dans cet ouvrage partent de l'hypothèse selon laquelle les romans de Gloria Naylor oscillent entre les pôles antithétiques de l'apocalypse et de la rédemption. Leurs auteurs ont exploré l'inscription de la violence et les stratégies de survie dans l'écriture de Gloria Naylor. Le rapport des textes à un héritage littéraire et culturel éclectique brouille davantage la frontière entre le pur et l'impur, entre le corps et l'esprit, entre répression et expression, entre damnation et salut.

La prolifération actuelle des images suscite de nombreuses interrogations, au sujet des possibilités de relations et de circulations qu'implique l'image en tant que lieu de médiation, ainsi que sur les notions d'identité et de communauté. Modifiant notre rapport au monde, à l'histoire et à la mémoire, l'image nécessite un dialogue entre ces différents domaines de recherche que sont la littérature, le cinéma ou la sociologie, défi relevé par cet ouvrage collectif pluridisciplinaire.

Les six études réunies dans «Presse écrite et action citoyenne» sont consacrées à l'histoire de la presse franco-ontarienne au XXe siècle. Si Le Voyageur de Sudbury est au centre de l'analyse, d'autres journaux – Le Droit d'Ottawa, Le Rempart de Windsor et La Feuille d'érable de Tecumseh – sont aussi convoqués. Les auteurs et autrices montrent en quoi la mise sur pied d'un journal de langue française en milieu minoritaire est un acte citoyen, puisqu'il favorise la prise de parole collective, la construction d'un espace public autonome dans lequel la communauté peut débattre des grands enjeux de société selon ses propres prémisses culturelles, historiques et politiques. Plusieurs aspects de la vie en Ontario français sont ici abordés, notamment la complexité du rapport au Québec, la place du catholicisme dans les polémiques idéologiques et morales, et les questions syndicales. Alors que la plupart des études portent sur la période qui suit les grands bouleversements idéologiques et institutionnels des années 1960, l'une d'elles offre une analyse inédite du débat engendré dans le Sud de l'Ontario, lors de la Deuxième Guerre mondiale, par la crise du service militaire obligatoire. Un ouvrage publié en coédition avec la Société historique du Nouvel-Ontario. Avec des textes de Stéphanie Bourque, Justine Champagne, Rachel Desaulniers, Emmanuelle Goulet, Francis Gourde, Serge Miville et Yanick Therrien.

This book provides an account of Mongolian information society from the perspective of critical media studies. The converged media sphere in modern Mongolia mirrors and shapes political communication, economic outlook, institutional norms, and Mongolian identity. When placing Mongolia on the global information society map, the arguments in the book juxtapose information society tenets and structural constraints like the small market, communist past, and mining-dependent economy. Today, people in Mongolia take advantage of the mobility, speed, and spatiality of the internet, as the Mongolians of old once saddled their horses and galloped across the grassy steps of Eurasia.

Alongside superheroes, supervillains, too, have become one of today's most popular and globally recognizable figures. However, it is not merely their popularity that marks their significance. Supervillains are also central to superhero storytelling to the extent that the superhero genre cannot survive without supervillains. Bringing together different approaches and critical perspectives across disciplines, author Nao Tomabechi troubles overly hero-centered works in comics studies to reconsider the modern American myths of the superheroes. Considering the likes of Lex Luthor, the Joker, Catwoman, Harley Quinn, Loki, Venom, and more, Supervillians explores themes such as gender and sexuality, disability, and many forms of Otherness in relation to the notion of evil as it appears in the superhero genre. The book investigates how supervillains uphold and, at times, trouble dominant ideals expressed by the heroism of our superheroes.

This book analyzes questions of platform bias, algorithmic filtering and ranking of Internet speech, and declining perceptions of online freedom.Courts have intervened against unfair platforms in important cases, but they have deferred to private sector decisions in many others, particularly in the United States. The First Amendment, human rights law, competition law, Section 230 of the Communications Decency Act, and an array of state and foreign laws address bad faith conduct by Internet platforms or other commercial actors. Arguing that the problem of platform neutrality is similar to the net neutrality problem, the book discusses the assault on freedom of speech that emerges from public-private partnerships. The book draws parallels between U.S. constitutional and statutory doctrines relating to shared spaces and the teachings of international human rights bodies relating to the responsibilities of private actors. It also connects the dots between new rights to appeal account or post removals under the Digital Services Act of the European Union and a variety of fair treatment obligations of platforms under American and European competition laws, “public accommodations” laws, and public utilities laws. Analyzing artificial intelligence (AI) regulation from the point of view of social-media and video-platform users, the book explores overlaps between European and U.S. efforts to limit algorithmic censorship or “shadow-banning”.The book will be of interest to students and scholars in the field of cyberlaw, the law of emerging technologies and AI law.

A bold and far-reaching new study of French queer cinema reimagines the relationship between sexuality and space Spatiality has long been a crucial and potent lens for understanding French culture and aesthetics. While canonical greats of French cinema such as Jean-Luc Godard, Agnès Varda, and Louis Malle invoked the notion of flânerie to explore ideas of modernism, spatial exploration, and urban sociality, Jules O'Dwyer demonstrates how a more recent generation of French queer filmmakers continues to engage with—and contest—this legacy by focusing attention on the cognate practice of cruising. Through the work of Jacques Nolot, Sébastien Lifshitz, Christophe Honoré, Vincent Dieutre, Alain Guiraudie, and others, The Seduction of Space draws film theory, queer studies, and spatial inquiry into close proximity to examine the politics of cruising and the gendering of space. Making the case that cinema not only documents the queer spaces of the past but continues to produce them, O'Dwyer maps the relationships between sex and spatiality as he takes up such varied topics as public sex in the porn theater, racial eroticization in the banlieue, and the ecocritical valences of rural cruising. Foregrounding the crucial role that spatiality plays in shaping the parameters of France's visual cultures and political imaginary, The Seduction of Space is both an urgent queer reconceptualization of this tradition and a clarion call for film scholars to tarry with the politics of sexuality in all its messiness. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This groundbreaking collection of essays from leading film historians features original research on movie magazines published in China, France, Germany, India, Iran, Latin America, South Korea, the U.S., and beyond. Vital resources for the study of film history and culture, movie magazines are frequently cited as sources, but rarely centered as objects of study. Global Movie Magazine Networks does precisely that, revealing the hybridity, heterogeneity, and connectivity of movie magazines and the important role they play in the intercontinental exchange of information and ideas about cinema. Uniquely, the contributors in this book have developed their critical analysis alongside the collaborative work of building digital resources, facilitating the digitization of more than a dozen of these historic magazines on an open-access basis.

¿Cómo se estructuran y configuran los discursos electorales para influir en los electores respecto a su opción de voto? La perspectiva que se toma aquí es la de que los discursos políticos son fundamentalmente relatos, que poseen una estructura profunda narrativa y que, por lo tanto, cuentan historias. Son relatos en los cuales aparece el líder político, sectores de ciudadanos, personajes abstractos y valores como la nación, el progreso o la libertad, metas que conseguir y misiones que realizar. En torno a los discursos electorales hay diferentes preguntas que son fundamentales: cuál es la estructura fundamental de los discursos electorales, qué tipo de recursos discursivos utilizan, cómo estos recursos se relacionan entre sí, cómo los discursos electorales pueden afectar a las motivaciones, actitudes y acciones de los electores. Los discursos electorales son herramientas fundamentales en la definición de los mapas de fuerzas políticas que se dan en los diferentes países, de las relaciones entre ellas y de las relaciones de estas fuerzas con los ciudadanos o sectores sociales específicos. Se ofrecen modelos teóricos y analíticos y se acompañan con ejemplificaciones de un gran número de discursos tanto de la escena política española como internacional.

This volume offers new perspectives on the ways in which migrants use storytelling practices and kinship formations in order to navigate and modify spaces of sovereignty, and thus to re-write narratives portraying them as helpless and passive victims. It provides one of the first investigations that assembles multidisciplinary contributions to look beyond individual acts of migrant agency and toward the entanglements of individual and collective agency, formations of kinship structures, and feelings, expressions, and representations of community and (multiple) belonging(s). The contributions explore the interplay between agency, kinship, and migration from various fields, including sociology, psychology, philosophy, border studies, gender and queer studies, postcolonial studies, ecocriticism, film and media studies, and literary and cultural studies – with a special focus on interdisciplinary narrative theory. They address real and imagined assertions of migrant agency and kinship formations; draw on empirical research, interviews, and accounts of lived experiences; and analyze the role of narrative, media, and technologies in artistic, literary, and cinematic representations of migrant agency and kinship. By probing migrant identity discourses in different cultural and medial contexts, the contributions examine how narratives negotiate and challenge the unequal distribution of mobility, resources, and vulnerability that preconfigures many migrant lives; they also discuss narrative devices, storytelling techniques, and other representational strategies that migrants employ, as well as technologies that they draw on, to lay powerful claims on space and citizenship and to eschew established scripts of victimhood. As such, the volume addresses and embraces the tensions between vulnerability and agency that come to the fore when we try to understand the different ways in which migrants shape, and are shaped by, their (trans)local, material, economic, affective, social, cultural, and political realities.

This book considers the rhetorical strategies used by celebrities and their surrogates and attorneys when faced with claims of sexual misconduct.During the past five years, a series of public figures has claimed that their celebrity persona is distinct from their “real” self as a way of eluding allegations of sexual misconduct in the courthouse and in the court of public opinion. This book examines three case studies in which such claims were employed, namely Terry Bollea/Hulk Hogan, President Donald Trump/Reality Show Host Donald Trump, and R. Kelly/Robert Kelly, to assess the mediated and legal communicative strategies used and their potential implications. Using a technique which the author calls “discursive self-cleaving,” these stars strategically craft statements on social media, in the press, and in the courtroom to create a discourse that works to shift blame away from their behavior. The book also traces the relationship between these discursive approaches and the politics of sexual violence and domestic abuse during the early months of the #MeToo movement and beyond.Providing a richly detailed analysis of how this discourse functions and why jurors and members of the public find it convincing, this book will be of interest to students and scholars in the field of communication studies, rhetoric, media, law, and popular culture studies.

This text provides empirical research on some of the most controversial media issues of our times. The first chapter investigates such issues as the effects of viewing erotica. How are users affected? Are rapists users, and are they affected? Are there therapeutic effects of viewing erotica? The second chapter covers how violent depictions affect violence in society. What are the findings of various government commissions and other research on depictions of media violence? The third chapter presents theories on causes and prevention of violence. Are viewers desensitized to violence in society? Does long-term viewing affect more aggressive behavior? Are there ways to mitigate the effects of viewing violence? The final chapter covers how political content affects voters. How are receivers socialized politically? What is the hereditary vote? What knowledge is gained from political content? What are the effects of political debates? What is the nature and effect of bias in the media? What role does Internet content play?

« L'attaque du 11 septembre a été organisée par les services secrets israéliens », « l'homme n'a pas été sur la Lune, tout a été filmé dans un hangar par Stanley Kubrick », « des hommes lézards extraterrestres dirigent le monde »... On ne compte plus le nombre de nouvelles versions alternatives qui revisitent l'histoire sur Internet. Ce phénomène en expansion est qualifié de « théorie du complot ». Que recouvre exactement cette notion à la mode? Est-ce un véritable concept ou un fouillis idéologique servant à disqualifier certains protagonistes du débat public? Les théories du complot ne constitueraient-elles pas, au fond, les signes avant-coureurs d'une crise sociétale beaucoup plus profonde? C'est à ces questions (et bien d'autres) que cet ouvrage tente de répondre à l'aide d'un dialogue équilibré, une large documentation et un outil commun plus précieux que jamais : l'esprit critique. À PROPOS DE L'AUTEURSébastien Chonavey est professeur dans plusieurs écoles de Bruxelles. Diplômé d'un régendat en français - morale à la Haute École de Bruxelles puis d'une maîtrise en Langue et Lettres françaises et romaines à l'Université Libre de Bruxelles, il s'intéresse au sujet de la « théorie du complot » depuis ses premiers contacts avec des élèves.

Writing with his customary wit and style, Richard Dyer argues that while pastiche can be used to describe works which contain montage or collage, it can also be used to describe works which are a kind of imitation of previous works. Investigating a wide range of cultural texts drawn from films, videos, novels, poetry, rap tracks, music and painting, Richard Dyer explores issues of text, genre, and the use of pastiche as a resource within a work. The final chapter draws together the underlying concern of the book with affect and poetics and discusses the politics of pastiche.

Les réseaux sociaux ne sont plus un simple espace d'expression. Ils sont devenus de redoutables outils de manipulation de masse et de contrefaçon de l'information. Des États, des partis politiques, les utilisent pour polluer l'écosystème numérique. Les démocraties peinent à trouver la parade mais l'Union européenne s'y attache pourtant avec acharnement. Klimentini Diakomanoli nous fournit ici la matière pour lutter contre ces nouvelles menaces, en nous en révélant les rouages, en listant l'arsenal législatif qui y répond, en montrant la voie pour être plus efficaces collectivement. Cet ouvrage est utile, notamment pour ceux qui organisent – et prennent soin de – la communication publique.

Les figurations du complot ne sont ni spécifiques à notre époque, ni seulement l'apanage des imbéciles. Leur profondeur historique et leur hétérogénéité sautent aux yeux lorsque l'on s'intéresse aux multiples productions esthétiques auxquelles elles se relient depuis le développement de la culture médiatique contemporaine. Dès le début du XIXe siècle, leurs déclinaisons romanesques ont essaimé en Europe occidentale puis se sont diversifiées en impliquant d'autres formes narratives, comme le cinéma et les séries télévisées, ainsi que différentes aires géo-culturelles. Plutôt que d'associer les narrations complotistes à des crises qui détermineraient leurs contenus et leurs enjeux de manière univoque, ce livre envisage les visions du monde variées qui en émanent, alimentant un « grand récit » qui se perpétue depuis plusieurs siècles en démultipliant ses supports, ses dévoilements captivants et ses cibles. À partir de l'étude interdisciplinaire de plus d'une centaine de fictions narrant des complots à grande échelle dans diverses langues européennes, il renouvelle l'approche d'un imaginaire social auquel chacun de nous a été confronté. Face à ses manifestations qui imprègnent nos démocraties, notre vie culturelle et notre quotidien, cet ouvrage propose ainsi des outils propres à nuancer et à mieux adapter nos réactions.

L'irruption du numérique et de l'Internet mobile a accéléré la transformation digitale de la société ivoirienne. Et, de plus en plus, des formes d'engagement politique et médiatique s'organisent avec l'utilisation des technologies socionumériques. Face à ces changements, la Côte d'Ivoire devra relever les défis de la recherche, du développement des infrastructures digitales et du renforcement du capital humain.Cet ouvrage revient sur l'usage des technologies socionumériques dans les campagnes électorales, les mobilisations citoyennes et les mutations médiatiques, et relève les enjeux de l'Open Data dans la perspective d'une gouvernance transparente.Il s'adresse aux étudiants en communication, aux enseignants-chercheurs, aux professionnels de la communication, aux décideurs politiques ainsi qu'aux lecteurs désireux de comprendre l'intégration évolutive des technologies socionumériques dans les pratiques de communication et, surtout, dans un cadre nécessaire de valeurs et de normes visant leur régulation.

Ce premier tome pose une question : qu'est-ce qu'un tiers lieu culturel? Les identités de ces espaces publics semblent en création. Certains tiers lieux composent de nouvelles narrations, d'autres s'appuient sur leur histoire. À chaque fois, il s'agit de tiers espaces ancrés sur des territoires, au plus près des sociétés humaines et des différentes formes de la culture. Divers publics viennent y rencontrer un tiers : ainsi se côtoient les habitants, entrepreneurs, artistes, chercheurs et inventeurs autour de dynamiques. Espaces intermédiaires, les tiers lieux culturels sont rarement transgressifs, mais les auteurs de cet ouvrage montrent la place originale qu'occupent ces structures à un niveau national et international.

Le deuxième tome de l'ouvrage présente des manières plurielles de faire des terrains avec la collaboration de nombreux tiers-lieux culturels et autres. Ces tiers-espaces sont imaginés, pensés et implémentés pour questionner les mutations contemporaines de la société et les formes émergentes d'art et de culture. Sont-ils des espaces rêvés comme des lieux d'un « enchantement qui revient » dans le sens de réaffirmation d'une confiance au monde et à son devenir? (Thibaud, Tixier, Zaccaï-Reyners, 2023) Pour ces raisons, ces tiers-espaces ne demandent qu'à être vécus, expérimentés, travaillés.

In 2022 Wits University Press marked its centenary, making it the oldest, most established university press in sub-Saharan Africa. While in part modelled on scholarly publishers from the global North, it has had to contend with the constraints of working under global South conditions: marginalisation within the university, budgetary limitations, small local markets, unequal access to international sales channels, and the privileging of English language publishing over indigenous languages. This volume explores what the Press has achieved, and what its modes of reinvention might look like. In widening and deepening our understanding of the Press as an example of a global South scholarly publisher, this volume asks how publishing can contribute to a broader understanding of Southern knowledge production. Featuring contributions from scholars, publishers and authors this multi-voiced volume showcases the history of the Press's publishing activities over 100 years: from documenting its evolution through book covers and giving credence to some of the leading black intellectuals and writers of the early 20th century and the success of those works in spite of their authors'racial marginalisation, to the role of women, both in publishing and in the spaces afforded to women's writing on the Press's list. The collection concludes with essays by contemporary authors who detail not only their experiences of working with Southern publishers, but also the politics and influences governing their decisions to choose the Press over a Northern publisher. Publishing from the South shows the strategies deployed by the Press to professionalise Southern knowledge making, and in the process demonstrating how university presses in the global South support the scholarly missions of their universities for both local and global audiences.

Exploring social media's integration with modern society, this text empowers students as social media consumers and creators. The thoroughly updated second edition includes a new chapter on AI technologies. Features include full color visuals; glossary; chapter questions and activities; and theory, ethics, and diversity and inclusion boxes.

À l'ère de la prépondérance des grandes plateformes socionumériques et de l'intensification de la communication par l'image, les #ChatonsMignons s'imposent comme l'une des entrées indispensables pour apprivoiser les enjeux de la culture numérique. Figures emblématiques de la culture populaire, les #ChatonsMignons incarnent les pratiques caractéristiques des profondes mutations de nos sociétés contemporaines. À partir de l'analyse d'un large corpus de publications issues de Twitter, Instagram et TikTok, cet ouvrage offre un aperçu des principaux paradigmes constitutifs de la culture numérique. L'imagerie des #ChatonsMignons s'inscrit dans des logiques socionumériques variées : propagande politique, défi de créativité, sociabilité, création de valeur affective – des logiques souvent imbriquées au nouvel impératif des réseaux : la viralité. Cet ouvrage est destiné à un large éventail de publics : lycéen.ennes, étudiant.es, universitaires, publics curieux des transformations de notre société numérique et fans de #ChatonsMignons bien entendu!

Dieser Band lotet das komplexe und dynamische, von Konkurrenz und Kooperation bewegte Verhältnis zwischen Literatur und Film aus. Die vertrackte Beziehung der beiden führenden Erzählmedien des 20. und 21. Jahrhundert, deren Potential sich nie nur im Narrativ-Dramatischen erschöpfte, bildete eine zentrale Herausforderung für einen Großteil der kulturwissenschaftlichen Theorieentwürfe vom Strukturalismus bis zur Intermedialitätsforschung. Sie prägte sich in Diskurs- und Praxisfeldern aus, die wie die literarische Filmreflexion und die filmische Adaption von Literatur wichtige Teile der modernen Kultur bestimmten. Sie begann in der Literatur noch bevor das Filmmedium technisch realisiert wurde (Précinéma) und nahm vom Stummfilm über den Tonfilm bis zur Autorenbewegung und zum Siegeszug des Fernsehens, auch entlang der Teilung zwischen BRD und DDR, unterschiedlichste Formen an, in denen mediale und soziale Bedingungen einander stets überlagerten und die zuletzt in das Archiv und die Formate des Internets eingegangen sind. Der Band verfolgt die Konfiguration zwischen Literatur und Film als einen Leitfaden durch die Mediengeschichte der letzten 120 Jahre.

The digital sphere, especially social media, is perceived as a new form of public sphere where individuals can share and circulate information and participate in formal and informal democratic processes albeit in the context of echo chambers and confirmation biases. Gender in the Digital Sphere explores how we represent, express, and engage with the digital world via the lens of gender. Each chapter touches on one of the three pillars of engagement, expression, or representation in relation to the digital world, and themes range from social media, body image and identity to feminist activism to gender and digital narratives. The contributors raise important questions about the impact of digital media in everyday life and make connections between theory and everyday accounts of gender and technology.

This book presents an innovative comparative view of how the issue of adolescent sexuality and consent is differently treated in various media.Analyzing teenage sexual encounters with adults across a variety of media, including films, television, novels, and podcasts, the volume takes a positive stance on the expression of teenage sexuality, while remaining sensitive to the power of adults to abuse and manipulate. The anthology treats these representations as negotiations between conflicting forces: desire, sexual self-knowledge, unequal power, and the law, the latter both actual legal statutes and internalized law in the philosophical and psychoanalytic sense. Questions of unequal power inherent in such relations are theorized. The authors examine variations of this configuration of sexual relations between teenagers and adults from different perspectives, to consider how various forms of expression rework it formally. These essays are attuned to both nuances of presentation and contexts of reception, and they consider how aesthetics play a role.Contributing to the general debate about the ways that societies construct and regulate adolescent sexuality, this book will be of great interest to scholars and students of media studies, cultural studies, film studies, television studies, sociology, and gender studies

Drawing on a range of theoretical and empirical perspectives, this volume examines the roles strategic communications play in creating social media messaging campaigns designed to engage in digital activism. As social activism and engagement continue to rise, individuals have an opportunity to use their agency as creators and consumers to explore issues of identity, diversity, justice, and action through digital activism. This edited volume situates activism and social justice historically and draws parallels to the work of activists in today's social movements such as modern-day feminism, Black Lives Matter, #MeToo, Missing Murdered Indigenous Women, and We Are All Khaled Said. Each chapter adds an additional filter of nuance, building a complete account of mounting issues through social media movements and at the same time scaffolding the complicated nature of digital collective action.The book will be a useful supplement to courses in public relations, journalism, social media, sociology, political science, diversity, digital activism, and mass communication at both the undergraduate and graduate level.

Cet ouvrage porte sur les processus identitaires mis en œuvre depuis le développement d'Internet. Massen Allioui part du postulat que les caractéristiques des collectifs en ligne sont indissociables des contextes sociomédiatiques qui les ont produits.Ipso facto, pour les aborder, il analyse les interactions d'une minorité déterritorialisée, anthropologiquement constituée et revendiquant son identité « culturelle », les Kabyles. Dans une approche empirique interdisciplinaire, l'auteur les questionne et y apporte des réponses dans une démarche compréhensive qui tient compte de la relation qu'entretiennent les Kabyles avec le pouvoir, la mémoire et le territoire. Il réinterroge ensuite les théories de la mondialisation de la communication à la lumière de cette nouvelle donne introduite par les flux globaux.

African Documentary Cinema investigates the inception and trajectory of contemporary documentary filmmaking in sub-Saharan African countries and their diasporas. The book challenges critical paradigms that have long prevailed in African film criticism, shedding light on the diverse discourses and evolving aesthetic trends present within documentary films.Situating his analysis within the context of the significant transformation of the African film industry, the author focuses on the development, diversity, and shifting dynamics that have impacted contemporary documentary cinema. Examining the historical, political, sociological, economic, and cultural factors that have facilitated the rise of documentary films—especially those created by female documentarians—the book assesses the emergence of documentary filmmakers spanning different generations. Their training, practices, and innovative perspectives on social, political, and environmental issues ultimately give rise to new frameworks for understanding the bio-documentary genre, issues of gender discrimination, LGBTQIA+ identities, environmental trauma, genocide, and memory on the African continent.This ground-breaking study offers new insight into a rapidly expanding topic and will appeal to students and scholars in the fields of film studies, documentary film, media industry studies, African studies, French, postcolonial studies, politics, and cultural studies.

Diversity bedeutet Vielfalt oder Verschiedenheit. Bezogen auf sozialpolitische Felder bezieht Diversity sich zumeist auf den Schutz der Dimensionen geschlechtliche Identität, sexuelle Orientierung, Religion und Weltanschauung, ethnische Herkunft bzw. Nationalität, Alter sowie körperliche und geistige Verfassung. In Bezug auf diese Anwendungsfelder lässt sich ein konstanter Wandel in der Gesellschaft feststellen. Welche Konsequenzen diese Veränderungen auf die Wirtschaftskommunikation haben und wie Unternehmens- bzw. Marketingkommunikation mit Diversität umgehen, untersuchen die Autorinnen und Autoren dieses Bandes.

The thirteen chapters in this collection analyze David Fincher's development as a filmmaker, from television commercials and music videos to serving as front runner on the series Mindhunter. The contributors explore a variety of characteristics, including Fincher's attitudes toward his audiences, his attention to detail, his Gothic sense of evil, his modernization of film noir, and his reinvention of the serial killer. The diversity of approaches highlights the paradoxes of Fincher's films and style, accentuating the tensions between his innovative methods and storytelling and unpacking the perennial questions of love, life, and death that his films raise. Scholars of film, television, and media will find this book especially salient.

This handbook fills a substantial gap in the international academic literature on animation at large, on music studies, and on the aural dimensions of Japanese animation more specifically. It offers a unique contribution at the intersection between music and popular culture studies on the one hand, and research on Japanese animated productions (often called ‘anime') as popular art forms and formats of entertainment, on the other. The book is designed as a reference work consisting of an organic sequence of theory-grounded essays on the development of music, sounds, and voices in Japanese animation for cinema and television since the 1930s. Each chapter deals with a phase of this history, focusing on composers and performers, films, series, and genres used in the soundtracks for animations made in Japan. The chapters also offer valuable interviews with prominent figures of music in Japanese animation, as well as chapter boxes clarifying specific aspects.

This book explores the history and development of the British daily newspaper strip. It considers such strips within their political, commercial and societal contexts and fills in a crucial section of publishing history that has been largely overlooked by both comics and newspaper studies to date. Beginning with an examination of the role of the image within British publishing in the final decades of the nineteenth century, the book moves on to explore the arrival and development of the first daily strips. It considers the links that bound these strips to surrounding cultural forms, their relationship to their host newspapers, and their position within the wider structures of the emerging popular press. Subsequent chapters cover a range of topics including the impact of the world wars, the anti-comics campaigns of the 1940s and 50s, and how changes to British publishing and wider society shaped the newspaper strips of the final decades of the twentieth century. Culminating with a discussion of the way in which strips became established within the broadsheet press from the 1960s, the book builds to provide a detailed overview of the twentieth century development of this most neglected cultural form.

This edited volume explores the development of the European book world between 1650 and 1750, concentrating on changes in publishing strategies, practices of censorship, the circulation of second-hand books and the building of libraries. Its essays discuss this critical, but much neglected period of print history through case studies from Spain, Italy, France, the Holy Roman Empire, Britain and the Netherlands. Ranging from the posthumous publication of Galileo to the regulation of the book auction market, this volume demonstrates that the century between 1650 and 1750 was a transformative period for the history of the printed book.

Faut-il interdire le yoga? Doit-on censurer Autant en emporte le vent? Peut-on aimer Harry Potter sans être transphobe? Ces questions, dans le sillage de la « pensée woke », s'invitent aussi bien dans les repas de famille que dans les entreprises et offrent rarement lieu à des débats constructifs. Alors, comment décrypter ces grandes tendances afin de mieux les comprendre et s'y adapter? Cet ouvrage, qui illustre des enjeux de société complexes à travers des exemples issus de la « pop culture », a vocation à aider les lecteurs à former un jugement éclairé sur l'un des sujets les plus emblématiques de notre époque.

This book addresses the issues raised by digital platforms in the Global South, with an emphasis on the cultural stakes involved.It brings together an interdisciplinary team of researchers – including political economists, socio-economists, geographers, media sociologists or anthropologists – who each explore these issues through an insightful case study at a local, national, regional or international scale. While studying the strategies of some of the main US-based Big Tech platforms or video streaming platforms towards the Global South, the chapters also consider the often-neglected active role local or regional actors play in the expansion of those Western digital players, and highlight the existence of a constellation of local or regional platforms that have emerged in Africa, Asia, Latin America or the Middle East. In addition to analysing the complex relationships of competition, collaboration or dependence between these diverse actors, this volume examines the ways in which the rise of these digital platforms has generated new forms of cultural entrepreneurship and participated in the reconfiguring of the conditions in which cultural contents are produced and circulated in the Global South.This volume will appeal to readers interested in the transnationalisation of cultural industries or in the social, political, economic, cultural and geopolitical dimensions of digital transformations and will be an important resource for students, teachers and researchers in media, communication, cultural studies, international relations and area studies programmes.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

The use of smartphones displays many facets of contemporary mobility. Smartphones and those applications downloaded to the device enhance connectivity in regard to socialisation, entertainment, transactions, networking, activism, and mobilisation. While the device and applications help community building and boost a sense of belonging, they also generate alienation, exclusion and marginalisation. Such online mobility of capital, commodity, idea and emotion visualised on smartphones cannot take place without the parallel existence of technological, sociopolitical and economic infrastructure that is established in the physical world offline. In this light, this book argues that the use of smartphones, and the constant switch between online and offline, has meshed virtual, social and physical mobilities together. However, such inseparability is yet to break down the boundary that marks their distinctive and discrete existence. Put simply, the absence, loss, outage, switch-off, unaffordability, or confiscation of the device can easily obstruct this meshed mobility. Interrogating what causes these obstructions will highlight the indispensable role played by the material and social infrastructure in this meshed mobility as well as the embedded structural constraints. It is equally important to look at migration and mobility beyond the points of departure and destination and trace the process in between, as scholarship in migration studies has advocated. Thus, this book offers an insight into the compression and tension between online and offline and the interlaced modes of mobility. On the whole, the articles included in this book aim to answer two critical questions: (1) How does the use of smartphones by migrants and the people connected with them generate new modes of mobility? (2) How do online activities and offline infrastructure interact and result in this compression? In answering these two questions, the authors seek to understand how the online–offline divide and the shift between physical and virtual worlds affect East Asian migrants'activities. They investigate how these migrants'mobility patterns are changing through such compression and tension between online and offline. The book will show how smartphones and the associated applications facilitate the expression of emotions and search for intimate relationships, expedite the movement of capital and commodity, enable public communication and social action and solicit political allegiance to the state or political parties. This spontaneous mobility in the virtual space visualised on smartphones obscures the physical separation between origin and destination. It also generates the space in between for network making and mobilisation. On the other hand, physical and virtual mobilities continue to be constrained by the tangible and intangible infrastructure created and administered by the state and the market. That is, not only is the ability of people, capital, commodities and ideas to cross borders regulated by the state, but the transmission of data related to these movements, in the forms of text, sound, image, graphics, or video, is also at the mercy of the operation of the infrastructure built by the state and the market. In sum, opportunities and resources emerge from this parallel between online and offline. However, their constant compression also limits personal agency and generates new restrictions or reifies existing constraints. Lockdown, a measure enforced by governments around the world to suppress the spread of Covid-19, has made the compression between online and offline a daily reality. Whilse contemporary mobility continues to be overshadowed by this ‘new normal', this edited volume seeks to re-examine the mobility and migration in the increasingly overlapping virtual, social and physical spaces. To achieve this goal, this volume offers an interdisciplinary lens through which to grasp the symbiosis betwe

It is commonplace in certain quarters to posit that the British working class has virtually disappeared because of the collapse of manufacturing in the last decades of the 20th century. However, it is hardly plausible that there should be nothing left today of a social group that was conspicuous in the past owing both to its deep involvement in the economy and its palpable presence in the urban environment. As a matter of fact, not only has the working class been of interest to film-makers, singers, cartoonists, etc., over the last half century or so, but a majority of 21st-century Britons still consider themselves to be “working-class” while many eke out a living by performing tiring, repetitive, low-skilled and poorly-paid tasks, i.e. tasks typical of those carried out by workers in the past. This issue of Cycnos, therefore, aims at showing that the aforementioned verdict probably fails to take into consideration a number of critical questions that range from the notion of representation to that of permanence (whether physical or otherwise).

This edited collection assembles international perspectives from artists, academics, and curators in the field to bring the insights of screendance theory and practice back into conversations with critical methods, at the intersections of popular culture, low-tech media practices, dance, and movement studies, and the minoritarian perspectives of feminism, queer theory, critical race studies and more.This book represents new vectors in screendance studies, featuring contributions by both artists and theoreticians, some of the most established voices in the field as well as the next generation of emerging scholars, artists, and curators. It builds on the foundational cartographies of screendance studies that attempted to sketch out what was particular to this practice. Sampling and reworking established forms of inquiry, artistic practice and spectatorial habits, and suspending and reorienting gestures into minoritarian forms, these conversations consider the affordances of screendance for reimaging the relations of bodies, technologies, and media today.This collection will be of great interest to students and scholars in dance studies, performance studies, cinema and media studies, feminist studies, and cultural studies.

This original study examines the representation of the body in French New Wave films through discussion of a series of films by Jean-Luc Godard, perhaps the central figure of the French New Wave.Through analysis of À bout de souffle, Une femme est une femme, Le Mépris and Alphaville, alongside discussion of some of Godard's lesser-known French New Wave films, the book explores the interrelation between bodies, books and bathrooms that they facilitate. In so doing, it aims to destabilise the French New Wave's myth of male exceptionalism and denaturalise the gender dynamic most commonly viewed at its heart, revealing that the women who make up a fundamental part of its fabric are not textually trapped by Godard's authorial presence. Instead, their corporeality disrupts any purported authorial and national ownership of their bodies.Given the enduring popularity and visibility of the French New Wave, and of Jean-Luc Godard, in universities and journals, The Body in Jean-Luc Godard's New Wave Films will appeal to scholars in the disciplines of French and film studies, as well as to undergraduate and postgraduate students of these disciplines.

Cet ouvrage réunit les textes des interventions faites lors de la première édition des Journées scientifiques des Sciences de l'Information et de la Communication (JOSSIC) organisée par l'École supérieure de Journalisme et des Sciences de la Communication (ESJSC) de Bamako les 02 et 03 mai 2023 dans les locaux de l'École nationale d'Administration (ENA) du Mali. Les thèmes abordés concernent l'influence des médias dans la compréhension et la gestion des crises et des conflits contemporains. À cet effet, les différents contributeurs, parmi lesquels se trouvent enseignants-chercheurs, doctorants et spécialistes de l'information et de la communication, se sont penchés sur des questions liées au « Rôle des médias dans la propagation des stéréotypes… », à « La crise malienne et l'accroissement des nouveaux journalistes à l'ère du numérique », à « La communication gouvernementale dans la gestion de la crise sanitaire COVID-19 au Mali », à « L'information par les réseaux en temps de conflit au Mali : la légitimité du journalisme en question » et à « La responsabilité sociale des journalistes en période de crise et de conflits : cas du Mali ».

Wir tendieren dazu, künstliche Intelligenz als eine wundersame und körperlose Form maschineller Klugheit zu betrachten. Von der preisgekrönten Wissenschaftlerin Kate Crawford lernen wir hingegen, dass KI in Wahrheit weder künstlich noch intelligent ist, sondern in ihrer materiellen Wirklichkeit auf Ressourcenausbeutung und Machtkonzentration hinausläuft. Crawford nimmt uns mit auf eine faszinierende Reise zu Lithiumminen und Klickfabriken, zu automatisierten Arbeitsplätzen und riesigen Datenarchiven, zu KITrainingscamps und zum algorithmischen Kriegsführungsteam des Pentagon. Auf diese Weise zeichnet sie einen Atlas der künstlichen Intelligenz, der die verschiedenen Bereiche ihrer konkreten Realität kartiert, um unser kritisches Auge zu schulen. Gestützt auf ein Jahrzehnt originärer Forschung zeigt Crawford, dass KI in erster Linie eine Technologie der Extraktion ist – der Abschöpfung von Mineralien, billiger Arbeitskraft und einer unermesslichen Anzahl von Daten. Das planetare Netzwerk der KI schädigt unsere Umwelt massiv, vertieft soziale Ungleichheiten und bedroht demokratische Prinzipien. Crawfords Buch liefert uns eine dringliche Mahnung, was auf dem Spiel steht, wenn große Unternehmen und staatliche Institutionen KI nutzen, um die Welt umzugestalten.

Na recenzowany tom składają się studia interdyscyplinarne sytuujące się na pograniczu literaturoznawstwa, antropologii, teorii muzyki, sound studies, kulturoznawstwa i medioznawstwa. Zagadnieniem centralnym książki jest głos w jego różnych aspektach – jako zjawisko zmysłowe, jako przejaw bezpośredniej obecności autora, jako fenomen fizjologiczny, jako narzędzie perswazji, jako pole eksperymentu, a nawet jako pejzaż dźwiękowy. Takie podejście przesuwa perspektywę badawczą z tradycyjnego zapisu (słów, dźwięków) ku performatywności, wydarzeniowości, konkretności i ulotności głosu. Autorki i autorzy zamieszczonych w książce artykułów nie dążą jednak do prostego przeciwstawienia głosu zapisowi, starają się natomiast wyartykułować bogate niuanse ich współzależności. Książka podejmuje temat aktualny i – biorąc pod uwagę rozwój mediów – przyszłościowy. Stanowi ważny przyczynek do dyskusji o paradygmatycznej zmianie kulturowej. Dr hab. Marcin Trzęsiok, prof. AM, Katedra Kompozycji i Teorii Muzyki, Akademia Muzyczna im. Karola Szymanowskiego w Katowicach

From the inception of cinema to today's franchise era, remaking has always been a motor of ongoing film production. Hollywood Remaking challenges the categorical dismissal in film criticism of remakes, sequels, and franchises by probing what these formats really do when they revisit familiar stories. Kathleen Loock argues that movies from Hollywood's large-scale system of remaking use serial repetition and variation to constantly negotiate past and present, explore stability and change, and actively shape how the film industry, cinema, and audiences imagine themselves. Far from a simple profit-making exercise, remaking is an inherently dynamic practice situated between the film industry's economic logic and the cultural imagination. Although remaking developed as a business practice in the United States, this book shows that it also shapes cinematic aesthetics and cultural debates, fosters film-historical knowledge, and promotes feelings of generational belonging among audiences.

This edited volume explores the democratic dangers posed by a political press that emphasizes electoral competition, strategy, entertainment, and what Jay Rosen calls “savviness”—praising candidates for being politically smart rather than being honest—in its coverage of a political landscape dominated by a looming authoritarian threat. Contributors document how the American and global political press have failed to fulfill their role in elections and demonstrate how authoritarians have used and will continue to use their power in setting policy before going on to suggest and develop solutions to these problems. These proposed solutions include the adoption of democracy-focused framing, solutions journalism, and solidarity journalism, all of which emphasize the needs and issues of democratic communities over candidates'political strategy. The book's recommendations contribute to a reorientation of journalism toward democracy and truth rather than performative detachment and forced balance. Scholars of journalism, mass media, communication, and political science will find this collection to be of particular use.

Lessons in creative labor, solidarity, and inclusion under precarious economic conditionsAs writers, musicians, online content creators, and other independent workers fight for better labor terms, romance authors offer a powerful example—and a cautionary tale—about self-organization and mutual aid in the digital economy. In Love in the Time of Self-Publishing, Christine Larson traces the forty-year history of Romancelandia, a sprawling network of romance authors, readers, editors, and others, who formed a unique community based on openness and collective support. Empowered by solidarity, American romance writers—once disparaged literary outcasts—became digital publishing's most innovative and successful authors. Meanwhile, a new surge of social media activism called attention to Romancelandia's historic exclusion of romance authors of color and LGBTQ+ writers, forcing a long-overdue cultural reckoning.Drawing on the largest-known survey of any literary genre as well as interviews and archival research, Larson shows how romance writers became the only authors in America to make money from the rise of ebooks—increasing their median income by 73 percent while other authors'plunged by 40 percent. The success of romance writers, Larson argues, demonstrates the power of alternative forms of organizing influenced by gendered working patterns. It also shows how networks of relationships can amplify—or mute—certain voices.Romancelandia's experience, Larson says, offers crucial lessons about solidarity for creators and other isolated workers in an increasingly risky employment world. Romancelandia's rise and near-meltdown shows that gaining fair treatment from platforms depends on creator solidarity—but creator solidarity, in turn, depends on fair treatment of all members.