Suchergebnisse

The purpose of this research is to know the improvement of students' leadership ethic in studying History after the implementation of Baratayuda Audio Visual Media. The population of this research is XI-Social Science-1 Class of SMAN 1 Pare, Kediri Regency, in academic year 2016/2017, consisted of 39 students. This Classroom Action Research (CAR) is arranged by Pre-test, Cycle-1 and Cycle-2 which consisted by some steps, such like; planning, implementation, observation, and reflection. Collecting the data is by using questionnaire of leadership ethic, interview, and documentation. The method of data analysis in this research is descriptive analysis by comparing the improvement from one cycle to another. The result of the research is showing that: There is an improvement of leadership ethic in studying History after the implementation of Baratayuda Audio Visual media. It is shown by the results as follows; Pre-test indicates that the passing score is about 17, 95%. On Cycle-1 indicates 46, 1% and on Cycle-2 indicates a significant improvement about 71, 83%.

Free software development and the technological practices of hackers have been broadly recognised as fundamental for the formation of political cultures that foster democracy in the digital mediascape. This article explores the role of free software in the practices of digital artists, animators and technicians who work in various roles for the contemporary digital visual media industries. Rather than discussing it as a model of organising work, the study conceives free software as a production tool and shows how it becomes a locus of politics about finding material security in flexible capitalism. This politics is ultimately contradictory in that it extends creative and craft autonomy of digital artists but does not mobilise a critical project. Instead, it nurtures further precarious labour. Empirically, the article draws on ethnographically collected material from the media practices of digital artists and programmers who engage with two popular free software production tools, Blender and Synfig.

"From 1880 to 1920, the first national visual culture developed in the United States. Exploring both high and low culture, from the circus and film to newspapers and magazines, this volume examines depictions of women at the dawn of "mass media," depictions that would remain influential throughout the twentieth century"--Provided by publisher

The current research focuses on the use of audiovisual media services in the political scene and tries to explore the political marketing and advertising concepts on which these media/services are based. As a holistic approach, this research explores the citizen-voter as well as the politician concerning political advertising and audiovisual media/services. It separates the audiovisual media into traditional and new ones. So, primarily, this research empirically investigates the politicians' profiles (high-ranked politicians, parliament, and regional ones) to determine the type and use of audiovisual media in terms of political information, statements, communication, and advertising. Moreover, it establishes the citizen/voter's profile in terms of political information, political advertising, and communication received from politicians and political parties. Finally, it is a study with the same conceptual dimensions between the politician and the citizen/voter to establish the basis for creating a conceptual framework-tool of their typology that will contribute to a holistic view of political marketing and political advertising through the use of traditional and new audiovisual media. Findings about politicians show relationships between audiovisual media reliability and political statement actions. The success of political advertising has multiple positive effects, as well as political communication via audiovisual services also plays an important role. Furthermore, models were created concerning the use of audiovisual media services for political statements and the impact of audiovisual media services on the intention to vote. In addition, the results from the politicians indicate several differences regarding the characteristics of the politicians and their profile as a user of audiovisual media services in political advertising. Findings about voters show that the reliability of audiovisual media services is a very important factor for political information.

Free software development and the technological practices of hackers have been broadly recognised as fundamental for the formation of political cultures that foster democracy in the digital mediascape. This article explores the role of free software in the practices of digital artists, animators and technicians who work in various roles for the contempo-rary digital visual media industries. Rather than discussing it as a model of organising work, the study conceives free software as a production tool and shows how it becomes a locus of politics about finding material security in flexible capitalism. This politics is ultimately contradictory in that it extends creative and craft autonomy of digital artists but does not mobilise a critical project. Instead, it nurtures further precarious labour. Empirically, the article draws on eth-nographically collected material from the media practices of digital artists and programmers who engage with two popular free software production tools, Blender and Synfig.

Free software development and the technological practices of hackers have been broadly recognised as fundamental for the formation of political cultures that foster democracy in the digital mediascape. This article explores the role of free software in the practices of digital artists, animators and technicians who work in various roles for the contemporary digital visual media industries. Rather than discussing it as a model of organising work, the study conceives free software as a production tool and shows how it becomes a locus of politics about finding material security in flexible capitalism. This politics is ultimately contradictory in that it extends creative and craft autonomy of digital artists but does not mobilise a critical project. Instead, it nurtures further precarious labour. Empirically, the article draws on ethnographically collected material from the media practices of digital artists and programmers who engage with two popular free software production tools, Blender and Synfig.

In the postwar years, an eruption of urbanization took place across Japan, from its historical central cities to the outer reaches of the archipelago. During the 1960s and 1970s, Japanese literary and visual media took a deep interest in cities and their problems, and what this rapid change meant for the country. In Residual Futures, Franz Prichard offers a pathbreaking analysis of the works wrought from this intensive urbanization, mapping the ways in which Japanese filmmakers, writers, photographers, and other artists came to grips with the entwined ecologies of a drastic transformation.Residual Futures examines crucial works of documentary film, fiction, and photography that interrogated Japan's urbanization and integration into the U.S.-dominated geopolitical system. Prichard discusses documentary filmmaker Tsuchimoto Noriaki's portrait of the urban "traffic war" and the remaking of Tokyo for the 1964 Olympics, novelist Abe Kōbō's depictions of infrastructure and urban sociality, and the radical notions of landscape that emerge from the critical and photographic work of Nakahira Takuma. His careful readings reveal the shifting relationships among urban materialities and subjectivities and the ecological, political, and aesthetic vocabularies of urban change. A novel cultural history of critical urban discourse in Japan, Residual Futures brings an interdisciplinary approach to Japanese literary and visual media studies. It provides a vital new perspective on the infrastructural aesthetics and entangled urban and media conditions of the global Cold War