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For most of the twentieth century, the making of animated cartoons was mechanized and standardized to allow for high-volume production: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians, most of them anonymous. In order to understand how the industrial mode of production influenced the medium's visual style, this book regards each frame of a given animated cartoon as a historical document in its own right. This new consideration of the materiality of the medium analyzes cartoons frame by frame to expose hitherto unseen qualities of the image. The book covers the different technologies of reproduction involved in this process, from photography to xerography, as well as the idiosyncrasies of the image—from abstract imagery to mistakes in reproduction—that can be seen only when the film is halted. What emerges is both a new methodology for thinking about animation, the idea of frame-by-frame analysis, and a highly original account of an art formed on the assembly line.

The frame analysis was part of the "cultural turn" that occurred in the early '80s in the sociology of collective action and that included the appreciation of the symbolic dimension of the action instudies of the social construction of the protest, gaining analytical importance the aspects like the symbolic production of movements. While their approaches have been widely appreciated for theirreconsideration of the cultural aspects of collective action, they were the subject of a series of reviews from other theories also attentive to the production of meaning in instances of socialmobilization and political communication. In these pages we will present briefly the idea of "collective frames" and examine the main criticisms of the proposals of the frame analysis fromauthors who promote discourse analysis and narrative of collective action and others french authors influenced by pragmatic theory. From these reviews we aim to provide some considerations to keepin mind to renovate and improve this analytical perspective of the cultural aspects of collective action. ; La teoría del frame analysis formó parte del "giro cultural" que ocurrió a principios de la década del '80 en la sociología de la acción colectiva y que comprendió la revalorización de la dimensiónsimbólica de la acción en los estudios sobre la construcción social de la protesta, cobrando relevancia analítica aspectos como la producción simbólica de los movimientos. Si bien sus planteoshan sido ampliamente valorados por su reconsideración de los aspectos culturales de la acción colectiva, fueron objeto de una serie de críticas provenientes de otras corrientes también atentas ala producción de sentido en instancias de movilización social y de comunicación política. En estas páginas presentaremos sucintamente la idea de "marcos de la acción colectiva" y examinaremos lasprincipales críticas a los planteos del frame analysis provenientes de autores que promueven el análisis discursivo y narrativo de la acción colectiva y de autores franceses con influencias ...

For the last twenty years, the Guantánamo Bay detention camp has not just been a military prison and security facility, but also a site of media production. Films, photographs, and documents have continued to emerge from the camp and become the focus of fierce legal and political battles, as well as intense moral anguish. This book looks at how the US Department of Defense has struggled, and often failed, to control the public perception of these media objects through complex, layered framing devices. It traces how small ruptures in the Department's framings have provided openings for critical interventions from various fields - ranging from journalism and human rights law to the arts. Guantánamo Frames thus lays the groundwork for a critical reappraisal of the entanglement of media, violence, and the security state in a broader sense.

For the last twenty years, the Guantánamo Bay detention camp has not just been a military prison and security facility, but also a site of media production. Films, photographs, and documents have continued to emerge from the camp and become the focus of fierce legal and political battles, as well as intense moral anguish. This book looks at how the US Department of Defense has struggled, and often failed, to control the public perception of these media objects through complex, layered framing devices. It traces how small ruptures in the Department's framings have provided openings for critical interventions from various fields – ranging from journalism and human rights law to the arts. Guantánamo Frames thus lays the groundwork for a critical reappraisal of the entanglement of media, violence, and the security state in a broader sense.

In this article, the authors discuss the three most important strategic framing choices by political actors ("substantive emphasis choice," "oppositional emphasis choice," and "contest emphasis choice") of direct-democratic campaigns. The authors investigate these strategic framing choices in the media input and look at how the political actors change their choices in another communication channel (political advertisement) and over time. The results provide the following insights: First, political actors tend to emphasize one to two main frames in their media input. They generally also use their main frames in the political advertisements and stay on their main frames over time. Second, although political actors tend to emphasize their own frames, they do not exclusively revert to this behavior. The authors find that the political actors pay more attention to their opponents' frames in the media input than in the ads. With regard to variation over time, the authors can state that campaign dialogue does not disappear over the course of the campaign. Third, framing is primarily accomplished in substantive terms. In the advertisements and toward the end of the campaign, the authors do not find more contest frames.

An audience's interpretation of news is considered to involve the input of news frames and audience predispositions. This study proposes that media frame diversity and individual-level factors may both condition audience issue cognitions. Using two public issues in Taiwan that vary in news frame diversity and data from a sample survey, this study compares media and audience frames and examines factors that condition audience framing. Results show that media frame diversity corresponds to audience frame diversity at the aggregate level. Audience frames are more diverse in the more diverse news context, but are less diverse in the more uniform news context. Individual differences also affect audience framing. Education appears to be a strong predictor to audience frame diversity as more education increases audience frame diversity in both issue contexts. Other individual variables show differential effects on audience framing across the two issues. Overall, the findings suggest that, while effects of individual-level factors on broadening audience perspectives may vary with issues, diverse media frames may help to cultivate a more reflexive citizenry. Adapted from the source document.

Medien-Frames sind Muster von Aussagen, die in medialen Diskursprodukten wiederholt gemeinsam auftreten. Ihnen wird die Eigenschaft zugesprochen, eine bestimmte Sichtweise zu dem behandelten Thema nahezulegen und Rezipientenmeinungen zu beeinflussen. Matthias Potthoff thematisiert, welche Faktoren einen Einfluss auf die Entstehung von Medien-Frames haben. Dazu präsentiert er ein Modell, das Einflussfaktoren auf Personen-, Organisations- und Länderebene sowie durch Ereignisse entstehende Einflüsse umfasst. Abschließend demonstriert der Autor den Nutzen dieses Modells anhand einer empirischen Fallstudie zum EU-Beitritt der Türkei.

How space gets occupied is inevitably bound up with cultural politics. For example: in psychiatry different states of mind are seen as states of health that need to be treated, whereas in the public gallery different states of mind are seen as the creative forces that generate the artwork. A question we must therefore ask ourselves is, in the realms of art, does mental illness actually exist? In this talk I wish to address some of the cultural issues around mental illness and draw on my experiences of the community arts movement, squatting, R D Laing, the Philadelphia Association, therapeutic households and social phenomenology. Here the arts are seen as ordinary in the 'everydayness' of their experience and practice. It was this ethos between 1988 - 2010 that informed my work with Studio Upstairs in developing a therapeutic arts community. Keywords: Therapeutic arts, phenomenology, R D Laing, mental illness, art, culture