Wat vertelt Roger Rabbit ons over de Tweede Golfoorlog? Wat vertelt DJ Shadow ons over het einde der tijden? Wat kan onze lokale busroute ons vertellen over de verovering van het Wilde Westen? Produceert reality tv een nieuw soort gemeenschap of toont Big Brother ons slechts een nieuwe vorm van samenleven? En wat vertellen ongeautoriseerde foto's van Bin Laden ons over de nieuwe methodes van de populaire propaganda? Deze en andere vragen komen aan de orde in deze collectie essays over het medialandschap in het post-millennium en haar objecten. Avoiding the Subject analyseert onze hedendaagse cultuur die zich langzamer ontwikkelt dan de technologie en waardoor 'the world turns to film', zoals Deleuze dit passend heeft verwoord.
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Lively and well written, Bread and Circuses analyzes theories that have treated mass culture as either a symptom or a cause of social decadence. Discussing many of the most influential and representative theories of mass culture, it ranges widely from Greek and Roman origins, through Marx, Nietzsche, Freud, Ortega y Gasset, T. S. Eliot, and the theorists of the Frankfurt Institute, down to Marshall McLuhan and Daniel Bell. Brantlinger considers the many versions of negative classicism and shows how the belief in the historical inevitability of social decay—a belief today perpetuated by the mass media themselves—has become the dominant view of mass culture in our time. While not defending mass culture in its present form, Brantlinger argues that the view of culture implicit in negative classicism obscures the question of how the media can best be used to help achieve freedom and enlightenment on a truly democratic basis.
Lively and well written, Bread and Circuses analyzes theories that have treated mass culture as either a symptom or a cause of social decadence. Discussing many of the most influential and representative theories of mass culture, it ranges widely from Greek and Roman origins, through Marx, Nietzsche, Freud, Ortega y Gasset, T. S. Eliot, and the theorists of the Frankfurt Institute, down to Marshall McLuhan and Daniel Bell. Brantlinger considers the many versions of negative classicism and shows how the belief in the historical inevitability of social decay—a belief today perpetuated by the mass media themselves—has become the dominant view of mass culture in our time. While not defending mass culture in its present form, Brantlinger argues that the view of culture implicit in negative classicism obscures the question of how the media can best be used to help achieve freedom and enlightenment on a truly democratic basis.
You want to read this book if you care about the news, how it is reported, how it is used, how it is misused, or what it means.
You can use this book in a classroom on civics, journalism, or business.
Or you can read this book as a confection... an enjoyable way of passing the time.
Here is the surface plot (but, like the news, you'll have to read it, think about it, and do a little digging to find what is below the surface:
More than 100 years ago Mr. Sherlock Holmes and Dr. John Watson learned the secret of eternal life. This explains how they were able to fight crimes and pursue justice for more than a century without seeming to age.
By 1982 people had stopped caring about learning the truth. Without consulting clients, Holmes transformed himself into a hedge fund manager making rich people richer, and Dr. Watson became a speech writer for many of the world's most influential people.
They assumed new identities and for three decades they lived separate lives as they became wealthy beyond measure. However, they began to age rapidly and in the fall of 2015 Holmes rented 221b Baker Street where he hoped to live out his final days. They reunited just as Holmes was about to apply the “seven percent solution” to his problems. But then a cryptic message arrived that sent the pair on their final adventure.
Now their time is running out. In Calling All Irregulars they ask their trusty band of misfits to join the battle for truth and justice against the news media under the influence of the evil Professor Moriarty, who only cares about page views and profits.
This book includes more than 45 puzzles that you can solve. Some are so easy that they will take only a few minutes and others might require dozens of people to collaborate for weeks or longer. Instructions are provided for how you can follow the progress of your fellow "Irregulars" as you become a consulting detective just like Sherlock Holmes.
This open access edited book captures the complexities and conflicts arising at the interface of intellectual property rights (IPR) and competition law. To do so, it discusses four specific themes: (a) policies governing functioning of standard setting organizations (SSOs), transparency and incentivising future innovation; (b) issue of royalties for standard essential patents (SEPs) and related disputes; (c) due process principles, procedural fairness and best practices in competition law; and (d) coherence of patent policies and consonance with competition law to support innovation in new technologies.
Many countries have formulated policies and re-oriented their economies to foster technological innovation as it is seen as a major source of economic growth. At the same time, there have been tensions between patent laws and competition laws, despite the fact that both are intended to enhance consumer welfare. In this regard, licensing of SEPs has been debated extensively, although in most instances, innovators and implementers successfully negotiate licensing of SEPs. However, there have been instances where disagreements on royalty base and royalty rates, terms of licensing, bundling of patents in licenses, pooling of licenses have arisen, and this has resulted in a surge of litigation in various jurisdictions and also drawn the attention of competition/anti-trust regulators. Further, a lingering lack of consensus among scholars, industry experts and regulators regarding solutions and techniques that are apposite in these matters across jurisdictions has added to the confusion. This book looks at the processes adopted by the competition/anti-trust regulators to apply the principles of due process and procedural fairness in investigating abuse of dominance cases against innovators.
This open access edited book captures the complexities and conflicts arising at the interface of intellectual property rights (IPR) and competition law. To do so, it discusses four specific themes: (a) policies governing functioning of standard setting organizations (SSOs), transparency and incentivising future innovation; (b) issue of royalties for standard essential patents (SEPs) and related disputes; (c) due process principles, procedural fairness and best practices in competition law; and (d) coherence of patent policies and consonance with competition law to support innovation in new technologies.
Many countries have formulated policies and re-oriented their economies to foster technological innovation as it is seen as a major source of economic growth. At the same time, there have been tensions between patent laws and competition laws, despite the fact that both are intended to enhance consumer welfare. In this regard, licensing of SEPs has been debated extensively, although in most instances, innovators and implementers successfully negotiate licensing of SEPs. However, there have been instances where disagreements on royalty base and royalty rates, terms of licensing, bundling of patents in licenses, pooling of licenses have arisen, and this has resulted in a surge of litigation in various jurisdictions and also drawn the attention of competition/anti-trust regulators. Further, a lingering lack of consensus among scholars, industry experts and regulators regarding solutions and techniques that are apposite in these matters across jurisdictions has added to the confusion. This book looks at the processes adopted by the competition/anti-trust regulators to apply the principles of due process and procedural fairness in investigating abuse of dominance cases against innovators.
Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges workers face. The authors take on crucial issues and provide insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, they investigate working conditions and organizing efforts on all six continents, offering comprehensive analysis of contemporary screen media labor in places such as Lagos, Prague, Hollywood, and Hyderabad, across a range of job categories that includes visual effects, production services, and adult entertainment. With contributions from John Caldwell, Vicki Mayer, Herman Gray, Tejaswini Ganti, and others, this collection offers timely critiques of media globalization and broader debates about labor, creativity, and precarity.
“Every case study is an eye-opener, and no other book comes close in assessing the plight of creative workers in the era of global conglomerate Hollywood.” THOMAS SCHATZ, University of Texas at Austin
“A corrective to previous, U.S.-centric attempts to understand the global media economy by offering a bracing look at the dark underbelly of life for most media workers today.” DENISE MANN, University of California, Los Angeles
“A balanced and comprehensive portrayal of the reshaping of the contours of work and industry organization under the twin circumstances of digital disruption and a globalizing media system.” TOM O’REGAN, The University of Queensland
MICHAEL CURTIN is a professor of Film and Media Studies at University of California, Santa Barbara. KEVIN SANSON is a Lecturer in Entertainment Industries at Queensland University of Technology in Australia.
In this archivally informed work, Jennifer S. Clark explores the multiple ways in which the feminist priorities of the 1970s were strengthened by women who labored in the American television industry. Carefully synthesizing an array of interviews and primary sources—from television network memos to programming schedules, production notes to executive meeting agendas—Clark tells the story of how women organized in the workplace to form collectives, affect production labor, and develop reform‑oriented policies and philosophies that reshaped television behind the screen. She urges us to consider how interventions, often at localized levels, can collectively shift the dynamics of media workplaces and the cultural products created therein.
“A terrific model of feminist media historiography. Jennifer Clark expands our understanding of 1970s American television, the women’s liberation movement, and the deep connections among gender, labor, and activism while innovating new strategies to examine the media industries.” — Elana Levine, author of Her Stories: Daytime Soap Opera and US Television History
“A massively important and enlightening contribution to the field, offering a nuanced treatment of industry cooperation and compromise. Clark uses rare archival findings and a wide range of cultural objects and case studies to generate fresh, bold conclusions around second-wave feminism and American television.” — Annie Berke, author of Their Own Best Creations: Women Writers in Postwar Television
Jennifer S. Clark is Assistant Professor of Communication and Media Studies at Fordham University.
In this archivally informed work, Jennifer S. Clark explores the multiple ways in which the feminist priorities of the 1970s were strengthened by women who labored in the American television industry. Carefully synthesizing an array of interviews and primary sources—from television network memos to programming schedules, production notes to executive meeting agendas—Clark tells the story of how women organized in the workplace to form collectives, affect production labor, and develop reform‑oriented policies and philosophies that reshaped television behind the screen. She urges us to consider how interventions, often at localized levels, can collectively shift the dynamics of media workplaces and the cultural products created therein.
“A terrific model of feminist media historiography. Jennifer Clark expands our understanding of 1970s American television, the women’s liberation movement, and the deep connections among gender, labor, and activism while innovating new strategies to examine the media industries.” — Elana Levine, author of Her Stories: Daytime Soap Opera and US Television History
“A massively important and enlightening contribution to the field, offering a nuanced treatment of industry cooperation and compromise. Clark uses rare archival findings and a wide range of cultural objects and case studies to generate fresh, bold conclusions around second-wave feminism and American television.” — Annie Berke, author of Their Own Best Creations: Women Writers in Postwar Television
Jennifer S. Clark is Assistant Professor of Communication and Media Studies at Fordham University.
"Terrorismus. 9/11 im Kontext" versteht sich als Anthologie, eine Zusammenstellung verschiedener Schwerpunkte, um so mehr Verständnis für die Komplexität von Terrorismus in Abgrenzung von eindimensional-verkürzter Darstellung in Medien und Politik zu eröffnen. Zu den inhaltlichen Schwerpunkt-en dieser Arbeit zählen - die Begriffs-Definition- die Ursachen von Terrorismus- dessen "mythologische" Aufladung und die mediale sowie populärkulturelle Verwertung. Genauso war die staatliche Reaktion auf Terrorismus von Interesse - in diesen Bereich fallen politische, militärische und sicherheitstechnische Lösungsansätze genauso wie mediale Gegenstrategien. Dass auch der Staat terroristischer Akteur sein kann - etwa bei der Durchführung von Geheimoperationen oder durch das "spiegelbildliche" Nachahmen von Guerillas und Terroristen im Zuge der Counterinsurgency-Kriegsführung - wird anhand verschiedener Fallbeispiele aus den USA, Lateinamerika und Europa dargestellt. Den sprichwörtlich "roten Faden" in "Terrorismus. 9/11 im Kontext" bildet die Analyse des "Überbaus" - der symbolischen und ideologischen "Quellen" des Terrorismus. Hier wird terroristische Gewalt alsAusdruck radikalen politischen Engagements verstanden, das nicht nur durch sozioökonomische undpolitische Ursachen "angefeuert" wird, sondern auch durch die "Gratifikation" einer Identität als "handelndes" Subjekt. Terrorismus ist so betrachtet vor allem Produkt einer machtvollen Idee, die Aktivisten antreibt, sie motiviert und ihnen jene starke Überzeugung vermittelt, die sie in die Lage versetzt, ihr "Projekt" in die Tat umzusetzen.Es handelt sich um die Vorstellung, dass es möglich ist, nicht nur aktiven "Widerstand" gegen eine als ungerecht, illegitim und korrupt empfundene Autorität zu leisten und dadurch auch als "Avantgarde" eine Beispielwirkung auf Andere zu entfalten, sich diesem "bewaffneten Kampf" anzuschließen. Dass auch umgekehrt die Sicht auf den terroristischen Gegner durch Politik und Behörden zu einem Gutteil von von Imagination und Projektion bestimmt wird, soll anhand der Darstellung der populärkulturellen Verarbeitung von Terrorismus in Kino, Medien sowie der "Imitation" terroristischer Vorgangsweisen durch Counterterrorism-Kräfte verdeutlicht werden.
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“A necessary read for every researcher, historian, scholar and hip-hop fan that seeks to better understand independent hip-hop and aspires to rebel and utilize hip-hop as a tool of resistance."—DJ Kuttin Kandi, DJ, Artist, Organizer, and Activist“Christopher Vito has written an informative and compelling book on independent hip hop that examines how complexities of race, gender, class and sexuality are confronted within the genre. This book illuminates a subculture that is rarely explored, shining a light on independent hip-hop’s power to counter mainstream ideology.”—Ninochka McTaggart, PhD, Senior Researcher, Geena Davis Institute on Gender in Media, USAUtilizing a mixed-methods approach, this book uncovers the historical trajectory of U.S. independent hip-hop in the post-golden era, seeking to understand its complex relationship to mainstream hip-hop culture and U.S. culture more generally. Christopher Vito analyzes the lyrics of indie hip-hop albums from 2000-2013 to uncover the dominant ideologies of independent artists regarding race, class, gender, sexual orientation, and social change. These analyses inform interviews with members of the indie hip-hop community to explore the meanings that they associate with the culture today, how technological and media changes impact the boundaries between independent and major, and whether and how this shapes their engagement with oppositional consciousness. Ultimately, this book aims to understand the complex and contradictory cultural politics of independent hip-hop in the contemporary age.
“A necessary read for every researcher, historian, scholar and hip-hop fan that seeks to better understand independent hip-hop and aspires to rebel and utilize hip-hop as a tool of resistance."—DJ Kuttin Kandi, DJ, Artist, Organizer, and Activist“Christopher Vito has written an informative and compelling book on independent hip hop that examines how complexities of race, gender, class and sexuality are confronted within the genre. This book illuminates a subculture that is rarely explored, shining a light on independent hip-hop’s power to counter mainstream ideology.”—Ninochka McTaggart, PhD, Senior Researcher, Geena Davis Institute on Gender in Media, USAUtilizing a mixed-methods approach, this book uncovers the historical trajectory of U.S. independent hip-hop in the post-golden era, seeking to understand its complex relationship to mainstream hip-hop culture and U.S. culture more generally. Christopher Vito analyzes the lyrics of indie hip-hop albums from 2000-2013 to uncover the dominant ideologies of independent artists regarding race, class, gender, sexual orientation, and social change. These analyses inform interviews with members of the indie hip-hop community to explore the meanings that they associate with the culture today, how technological and media changes impact the boundaries between independent and major, and whether and how this shapes their engagement with oppositional consciousness. Ultimately, this book aims to understand the complex and contradictory cultural politics of independent hip-hop in the contemporary age.
“Trade Unions on YouTube provides a much-needed assessment of how old social movement actors employ new social media platforms to promote themselves and their activities today. A must-read for trade unions scholars and activists alike, this book illustrates how, in the age of digital media, there is more than one pattern towards trade union revitalization and each of them implies different communicative challenges.”—Alice Mattoni, Associate Professor at the Department of Political and Social Sciences, University of Bologna, Italy
This book investigates how trade unions representing different social classes use YouTube videos for renewal purposes. Information and communication technology has undoubtedly offered new opportunities for social movements, but while research suggests that these new means of communication can be used for trade union revitalization, few studies have examined what unions actually do on social media.
By analysing more than 4500 videos that have been uploaded by Swedish trade unions, Jansson and Uba explore how unions use YouTube to address issues such as recruiting new members, improving internal democracy, promoting political campaigns and constructing (new) self-images. The results demonstrate that trade unions representing a range of social classes use different revitalization strategies via YouTube.
This research will be of use to students and scholars researching European politics and political participation, trade unionism and labour movements in the digital age.
“Trade Unions on YouTube provides a much-needed assessment of how old social movement actors employ new social media platforms to promote themselves and their activities today. A must-read for trade unions scholars and activists alike, this book illustrates how, in the age of digital media, there is more than one pattern towards trade union revitalization and each of them implies different communicative challenges.”—Alice Mattoni, Associate Professor at the Department of Political and Social Sciences, University of Bologna, Italy
This book investigates how trade unions representing different social classes use YouTube videos for renewal purposes. Information and communication technology has undoubtedly offered new opportunities for social movements, but while research suggests that these new means of communication can be used for trade union revitalization, few studies have examined what unions actually do on social media.
By analysing more than 4500 videos that have been uploaded by Swedish trade unions, Jansson and Uba explore how unions use YouTube to address issues such as recruiting new members, improving internal democracy, promoting political campaigns and constructing (new) self-images. The results demonstrate that trade unions representing a range of social classes use different revitalization strategies via YouTube.
This research will be of use to students and scholars researching European politics and political participation, trade unionism and labour movements in the digital age.
Deze verzameling essays door bekende auteurs op het gebied van 'schrijven voor televisie', is verdeeld in drie delen, met het eerste toegewijd aan de debatten over kwaliteitstelevisie. Het tweede deel concentreert zich op literatuur en televisie. De laatste onderzoekt ' Wetenschap op televisie', met serieredacteurs uit Groot-Brittannië en Duitsland, die uit de eerste hand vertellen over aan welke eisen 'wetenschap op televisie' dient te voldoen.
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