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Shows how aesthetic, ethical, and political questions intersect in a range of art forms as found in traditional mediaAddresses key aesthetic, ethical, and political questions in visual mediaExamines contemporary films, television, photography, painting and new visual media such as videogames, Facebook, and interactive documentariesOffers an international mix of emerging and senior authors with interdisciplinary expertiseThis book investigates the interrelations between aesthetics, ethics and politics in a variety of visual media forms, ranging across art installations, film and television, interactive documentaries, painting, photography, social media and videogames. An international mix of emerging and established authors, with interdisciplinary expertise, explores how different ethical questions, political implications and aesthetic pleasures arise and shape one another in distinct visual media.Investigating themes such as the use of cinema as a medium for ethical and political thought, how documentary subjects both conceal and reveal truth, the new ethical challenges arising from interactive media and the role of images in responding to political events and trauma, this is a groundbreaking work about the interrelations of aesthetic, ethical and political values in visual media

Intro -- Contents -- Acknowledgments -- Introduction: Animal, Vegetable, Digital -- 1. Coding: Creating and Erasing Worlds of Signs -- 2. Collapsing: Challenging Boundaries of Bodies and Forms -- 3. Corresponding: Communicating with Natural Agents -- 4. Conserving: Saving Nature through Game Play -- Coda: Self, System, Ecosystem -- Notes -- Works Cited -- Index.

Cover -- Contents -- Acknowledgments -- Introduction -- 1 From France Antartique to Shamanic Critique: The Tupinization of Social Thought -- 2 The Indigenous Cunhã: The Metamorphosis of a Gendered Trope -- 3 The Transnational "Indian" -- 4 Cross-national Comparabilities: The Indigenization of Brazilian Media -- 5 Triumphs and the Travails of the Yanomami -- Conclusion: The Theoretical Indigene: Becoming Indian and the Elsewhere of Capitalism -- Bibliography -- Index.

11.3 Third conclusion: the diff erence of optical and visual media. Anthropomorphic vs. non-anthropomorphic media models11.4 Fourth conclusion: Critique of the planocentric notion of the image; Notes; BIBLIOGRAPHY; TABLE OF IMAGE RIGHTS; INDEX; Plate 1; Plate 2; Plate 3; Plate 4; Plate 5.

Intro -- Contents -- Notes on Contributors -- List of Figures -- Introduction: Media and Genre -- 1 Genre and Aesthetics -- 2 Genre and Culture -- Genre and Structure -- Genre and Discourse -- Genre and Mediality -- 3 Genres in Media and Cultural Theory -- 4 Transmedial and Transnational Perspectives -- 5 Re-examining Genres in Film Studies -- References -- Part I: Genres in Media and Cultural Theory -- Genre in Action: The Impossibility and Value of Genre Analysis -- 1 Critical Legacies: Genre and Authorship -- 2 Action as Genre, Genres and Mode: Managing Genre's Impossibility -- 3 Genre: Histories and Chronologies -- 4 Action and Models of Television Genre -- 5 Games, Gameplay and Spaces of Action/Adventure -- 6 Conclusion -- References -- Trespass: Genre, Author, and Play in the Discourse of Media Aesthetics -- 1 State of Theory: Genre Studies and Auteurism -- 2 Trespass and the Last Adventure -- 3 Blackness (Re)Assigned -- 4 Genre Politics as Media Aesthetics of Formalization -- 5 Conclusion: The Genius of the Genre System -- References -- Staging Revolutions: Hamilton. An American Musical, Genre Affordances, and the Political Dynamics of Cultural Circulation -- 1 The Genre Politics of Hamilton -- 2 The Event of Hamilton, Historiographic Metatheatre and the Question of Social Efficacy -- 3 Epilogue -- References -- Part II: Transmedial and Transnational Perspectives -- A New Genre Arena? Questions of Genre in the Digital Age of Promotional Media -- 1 Introduction -- 2 Genre and Promotional Media -- 3 Working Genre in the Digital Age: Three Cases -- The Making of a World -- Tweeting about Family -- Teasing the Familiar -- 4 Conclusion -- References -- Political Genres of Online Animation: Genre Theory, Animation Studies, and Digital Media -- 1 Introduction -- 2 Animation and Genre -- 3 Animation and Digital Media.

This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals - producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. 'The Oxford Handbook of New Audiovisual Aesthetics' provides powerful ways to understand these changes.

This book is about forms of media that have reflected or increased consciousness of - a sense of place or a regional identity. From landscape painting in the Romantic era to newspaper coverage of devolution, the chapters explore, through contextualized case studies, the aesthetics of a wide range of local, regional and grassroots forms of media.

The essays in Rethinking Media Change center on a variety of media forms at moments of disruption and cultural transformation. The editors' introduction sketches an aesthetics of media transition--patterns of development and social dispersion that operate across eras, media forms, and cultures. The book includes case studies of such earlier media as the book, the phonograph, early cinema, and television. It also examines contemporary digital forms, exploring their promise and strangeness. A final section probes aspects of visual culture in such environments as the evolving museum, movie spectaculars, and "the virtual window." The contributors reject apocalyptic scenarios of media revolution, demonstrating instead that media transition is always a mix of tradition and innovation, an accretive process in which emerging and established systems interact, shift, and collude with one another.

Intro -- Title Page -- Copyright Page -- Contents -- Prologue -- Introduction -- 1. "Violence at the Speed of Live": The Televirtuality of 9/11 andRebuking the Frame of (Re)Presentation -- Déjà vu and the Inadequacy of Fantasy -- The Audio of the Image -- Emotions and the Breakdown of Narrative Authority -- The (Im)Perfection of the Virtual and the Assumption of Global Homogeneity -- 2. "We Can't Believe It's Not Butter": Polemical Violence andFaking Authenticity -- Series 7: The Contenders -- Audience Reception and Textual Interdiscursivity -- Editing Versus Authenticity -- Bowling for Columbine and Editing the Polemical -- Norma Khouri and the Hoax as Reader Seduction -- 3. "It Is a True Story but It Might Not Have Happened":Voyeurism and Fiction in the True Crime Narrative -- Sensationalism -- Audience Voyeurism and Forensic Actuality -- Illusory Forensic Authenticity in Law & -- Order -- The Author's Story Versus the Murderer's -- Taking Sides in Joe Cinques Consolation -- 4. Show Business or Dirty Business?: The Theatrics of Mafia Narrative and Empathy for the Last Mob Boss Standing in The Sopranos -- Gangsters On and Off the Screen -- The Sopranos and Performativity -- Tony Performing Tony -- 5. "Solving Problems with Sharp Objects": Female Empowerment, Sex, and Violence in Buffy, the Vampire Slayer -- Sharing Gender Roles -- Violence and Buffy's Emotions -- Violence and the Erotics of Shame -- Female Empowerment and the "Almost" Rape -- 6. "Getting Kicks from Action Pix": Righteous Violence and the Choreographed Body in F(l)ight -- Fightable Moments -- The Flying Body -- Pause for Applause -- The Invulnerable Body -- Killer Schlock -- The Dance of the Parodied Body -- 7. "It's Just Detail": Flaying the Sacred and Prosthetic, Pixilated and Animated Violence in the Hyperreal -- Hyperrealism -- Violence Against the Sacred in the Hyperreal.