Suchergebnisse

Since the 1980s, digital materialism has received increasing interest in the field of media studies. Materialism as a theoretical paradigm assumes that all things in the world are tied to physical processes and matter. Yet within digital media studies, the understanding of what should be the core object of a materialist analysis is debated. This paper proposes to untangle some of the principal theoretical propositions that compose the field of digital materialism. It outlines six frameworks that share the assumption that digital stuff is composed of material entities: the Berlin School of media, the field of software studies, the literary critique of electronic texts, the forensic approach, the 'new materialist' media ecology, and the field of Marxian critical studies. These different options are positioned along three main lines of tensions: between a semantic and an engineer's perspective on media, between technological and social determinism, and between critical or post-humanist political propositions.

Since the 1980s, digital materialism has received increasing interest in the field of media studies. Materialism as a theoretical paradigm assumes that all things in the world are tied to physical processes and matter. Yet within digital media studies, the understanding of what should be the core object of a materialist analysis is debated. This paper proposes to untangle some of the principal theoretical propositions that compose the field of digital materialism. It outlines six frameworks that share the assumption that digital stuff is composed of material entities: the Berlin School of media, the field of software studies, the literary critique of electronic texts, the forensic approach, the 'new materialist' media ecology, and the field of Marxian critical studies. These different options are positioned along three main lines of tensions: between a semantic and an engineer's perspective on media, between technological and social determinism, and between critical or post-humanist political propositions.

Abstract
Whether in the form of Google searches, interactive games, or responsive textual environments, the reassuring subject-object binary so fundamental to the modern era's representation systems is fast slipping away. In its place, a recursive epistemological order that actively parses the subject and shapes the textual world is fast emerging, posing challenges to established notions of agency and to narrative as a cultural operating system. Assessments of the terms and implications of this shift will benefit from the distinctive analytic perspective that distinguishes the Nordic from many of its Anglo-American and European peers.

New media, simply put, is new form of mass communication. Another term for it is digital media. Relatively, it is recent media based on new information technology, a 21stcentury's people's media. It is dynamic as the Internet-based tools and technology keep changing in unpredictable ways, and evolving too. New media has redefined, given a new dimension to the very concept of communication, whether internal, intrapersonal,one to one or one to many. New technologies, which are emerging on a daily basis, are enabling new media to evolve. Inarguably, social media is shaping opinion, helping to build profiles of people, companies and government. Moreover, it is helping to get people 'connected' and draw moral support sometimes. Political communi-cation, which is a sub-field of communication, has dramatically changed in the last decade. Many traditional media as well as new media have changed politics which is inclusive of governance and players involved in it.New media platforms and social media tools have made democracy more vibrant, at least in the cyber world. This does not imply that the quality of governance has improved and society at large is happier because the quality of life has improved. But with the media becoming more and more interactive, public communication has increased which in turn has an impact on policy makers. 'Social media afford new opportunities for engaging citizens in democratic processes. Use of socialmedia is increasing rapidly, these forms of media offer increased access to voters and potential voters,' (McNamara et.al, 2012) says the study on the usage of social media in Australia. A study on political changes in China (Ashley Esarey, 2011) observesthat digital technologies empower citizens by providing forums for the expression of political views and critics of the state. The present paper is a Meta review of studies undertaken on new media as agents of political communication.

New media, simply put, is new form of mass communication. Another term for it is digital media. Relatively, it is recent media based on new information technology, a 21stcentury's people's media. It is dynamic as the Internet-based tools and technology keep changing in unpredictable ways, and evolving too. New media has redefined, given a new dimension to the very concept of communication, whether internal, intrapersonal,one to one or one to many. New technologies, which are emerging on a daily basis, are enabling new media to evolve. Inarguably, social media is shaping opinion, helping to build profiles of people, companies and government. Moreover, it is helping to get people 'connected' and draw moral support sometimes. Political communi-cation, which is a sub-field of communication, has dramatically changed in the last decade. Many traditional media as well as new media have changed politics which is inclusive of governance and players involved in it.New media platforms and social media tools have made democracy more vibrant, at least in the cyber world. This does not imply that the quality of governance has improved and society at large is happier because the quality of life has improved. But with the media becoming more and more interactive, public communication has increased which in turn has an impact on policy makers. 'Social media afford new opportunities for engaging citizens in democratic processes. Use of socialmedia is increasing rapidly, these forms of media offer increased access to voters and potential voters,' (McNamara et.al, 2012) says the study on the usage of social media in Australia. A study on political changes in China (Ashley Esarey, 2011) observesthat digital technologies empower citizens by providing forums for the expression of political views and critics of the state. The present paper is a Meta review of studies undertaken on new media as agents of political communication.

This is media studies -- Media language, analysing a media product : an introduction to semiotics -- Fictions and realities : a television case study -- Media in a historical context -- Theory and debates : the media audience -- Media language and representations : inequality and difference -- Social and cultural contexts -- Persuasion : advertising, marketing and propaganda -- Media in an economic context -- Theory and debates in hypermodern times : where does meaning come from? -- Media in a political context -- Media shorts : a collection of readings.

This editorial delivers an introduction to the thematic Media and Communication issue on "The Turn to Affect and Emotion in Media Studies". The social and cultural formation of affect and emotion has been of central interest to social science-based emotion research as well as to affect studies, which are mainly grounded in cultural studies. Media and communication scholars, in turn, have especially focused on how emotion and affect are produced by media, the way they are communicated through media, and the forms of emotion audiences develop during the use of media. Distinguishing theoretical lines of emotion theory in social sciences and diverse traditions of affect theory, we reflect on the need to engage more deeply with affect and emotion as driving forces in contemporary media and society. This thematic issue aims to add to ongoing affect studies research and to existing emotion research within media studies. A special emphasis will be placed on exploring structures of difference and power produced in and by media in relation to affect and emotion.

The first part of the article is a general critique of radical media/cultural studies; the second is an illustration of these criticisms detailed through analysis of one media student's treatment of a newspaper. In general, the authors find media studies do not establish that their reading of materials is the reading made by media consumers; that the bias they allege in the media is not significant; that they set up a false and irrelevant model of what the media producers are trying/claiming to do; that they displace the technical-professional interests of media producers with their own ideological interests and that their analysis of texts is crude. In particular, they show how trivial identifications are turned into significant ones; how items are transformed in their transfer from media page to media criticism page; and how readings of a media text are argumentatively and constrastively organized. In summary it is argued that such plausibility as the media critics' arguments possess derives not from the accuracy but from the presentational organization of their analysis.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Citation Information -- Notes on Contributors -- Introduction: Why "intergenerational feminist media studies"? -- Introduction: mediating feminist generations -- Critiquing generational approaches -- Using generation in feminist media studies -- A conjunctural analysis of generation -- Conceiving of feminist generations: affective flashpoints -- This anniversary issue -- Note -- Acknowledgements -- Disclosure statement -- References -- 1. Pretty past it? Interrogating the post-feminist makeover of ageing, style, and fashion -- Introduction -- She's in fashion: the ageing female subject in vogue -- "The young are so-well, old hat": Advanced Style takes the stage -- About time: the Fabulous Fashionistas' "old lady revolution" -- Older women defining "cool": subversion vs exploitation -- Notes -- Acknowledgements -- Disclosure statement -- References -- 2. Handover women: Hong Kong women filmmakers and the intergenerational melodrama of infidelity -- Introduction -- The gendered flashback and the generation gap in Ann Hui's July Rhapsody -- The Handover as tragic romance in City of Glass -- Lesbian desire takes flight in Butterfly -- The cross-generational melodrama of Hong Kong feminism: women of the New Wave, Second Wave and HKSAR New Wave -- Notes -- Acknowledgements -- Disclosure statement -- Funding -- References -- 3. Post-postfeminism?: new feminist visibilities in postfeminist times -- Introduction: feminism, postfeminism and generation -- Interrogating postfeminism -- Uneven feminist visibilities -- Feminist issues in the media -- Feminist activism -- Corporate or neoliberal feminism -- Celebrity and style feminism -- Post-postfeminism? Theorizing continuity and change -- NEW GEN FEM and postfeminism -- Conclusion -- Notes -- Acknowledgements -- Disclosure statement.

With the ascendance of liberal democracy, propaganda activities have vastly increased. The main aim of propaganda has been to protect state-corporate power from the threat of public understanding and participation. Because of its societal importance for public opinion formation, the news media constitutes an obvious channel for the dissemination of propaganda. However, contemporary communication, media and journalism studies have mostly neglected to critically assess the news media's role in producing and distributing propaganda. In fact, despite of the news media's integration into the state-corporate nexus, the term propaganda is rarely used in academic treatises on the news media. Furthermore, only a small number of scholars have engaged in elaborating a systematic understanding of the manifold propaganda techniques that are currently applied in liberal democracies. To fill these research gaps, this article maps out various concepts of propaganda and relates them to the process and content of the news media. On the basis of theoretical and empirical studies, the article demonstrates how different forms of propaganda can manifest in news media content. Based on an integration with, as well as a development of, existing literature, the essay aims to build a tool box that can be applied and refined in future studies in order to detect propaganda in news media texts.

Abstract
Based on an overview of Anglo-American stocktaking of media and communication studies, this article situates Nordic media studies as a third route staked out between academic binaries of administrative and critical approaches. The key argument is this: Nordic media studies displays distinctive features of development that are shaped by Nordic welfarist ideals from the 1970s and 1980s rather than by international trends in the academy. Furthermore, these ideals are worth holding on to if the field of media studies is to thrive with quality and relevance in a globalised, connected, and deeply datafied platform society. I take media studies – not communication studies – as my point of departure, since this is the most feasible umbrella term when studying current modes of communication that are technologically mediated in ways that can be stored, shaped, and shared across time and space.

This article aims to construct a new perspective for analyzing the recent omnipresence of screens, the diversity of images, and their impact on our daily lives. Because of the diversification of digitalized images today, research based on film and television studies is unable to grasp the fluid relationships among screen images, spaces, and the bodies of their audience, and important task for recent scholarship is to determine how to include these screen images in media and cultural studies. In response to this issue, this article seeks to reconstruct the concept of screen practice, guided by the perspectives of Jonathan Crary and Friedrich Kittler on media and practices; Koji Taki and Ai Maeda's historical research on Japanese modernity; and Erkki Huhtamo and Yussi Parikka's media archaeological perspectives for screen and visual culture. Although the notion of screen practice was originally proposed in the field of film history, it should be expanded for broader screen cultures as the sites at which scientific discourses and technologies act on the bodies of viewers. Taking the experiences of Japanese modernity as its subject, this is a critical issue, because at these sites we can find traces of dynamic negotiations between the circulation of science and media derived from Western modernity, and existing physical and cultural vernacular practices. Moreover, going back to the screen cultures at the end of the 19th century will make clear how the process of our contemporary media environment was formed.