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Editorial for guest-edited issue, "Fans of Color, Fandoms of Color," Transformative Works and Cultures, no. 29 (March 15, 2019).

Editorial for special issue, "Social TV Fandom and the Media Industries," Transformative Works and Cultures, no. 26 (March 15, 2018).

Offers "symbolic hermeneutics" as a radical way of thinking that transcends the limits of traditional rationality, focusing on the polemical relationship between language & culture. The crucial difference between rational & symbolic thinking derives from specific understanding of man as homo symbolicus, which is different from the symptomatic critic fixed in the interchangeable horizon of the sign. Adapted from the source document.

Wie behaupten sich Fernsehen, Radio, Tageszeitung und Internet im Wettbewerb? Welche Rolle spielen Tonträger, Videos, Zeitschriften und Bücher im Alltag? Und wie haben sich das Mediennutzungsverhalten der Bevölkerung sowie die Einstellungen zu den Medien im Laufe der Zeit verändert? Die ARD/ZDF-Langzeitstudie Massenkommunikation begleitet den Medienwandel in Deutschland seit 50 Jahren und ist damit einzigartig.Dieser Band dokumentiert die Befunde der Befragungswelle 2015 mit einer repräsentativen Stichprobe von 4.300 Personen ab 14 Jahren und analysiert langfristige Entwicklungstrends. Er knüpft damit an die Ergebnisdarstellungen der früheren Wellen an, die – mit Ausnahme der ersten Publikation – in der Schriftenreihe "Media Perspektiven" erschienen sind

International audience ; The materialization of autofiction in cinematic practice allows a new identification, adding to the literary author-narrator-character that of the actor. The filmmaker then plays himself generating multiple and interesting procedures of this autofictional presence only possible in audiovisual narration. This article aims to analyse these procedures in French cinematic creation, in which the exhaustiveness and relevance of literary autofiction have a determining influence. The analysis of this practice establishes a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary starting point) to the fictionalisation of the factual (fictional starting point). The second analyses them regarding the filmmaker's presence: from the cinéaste-filmeur(e) who stands behind the camera and records the images himself to the cinéaste-acteur/actrice who exclusively appears in front of it. This cinematic exploration of the self situates the filmmaker in all possible positions, developing autofictional procedures that delve into the concepts of postmodern identity and alterity using parody and irony as efficient tools. In this laboratory of the self, filmmakers experiment with the topics they address-cinematic reflection, creative search, intimate self-knowledge, ideological self-criticism, social and political criticism-as well as they create valuable materialisations of resilience, empathy, sisterhood and even pedagogy.

International audience ; The materialization of autofiction in cinematic practice allows a new identification, adding to the literary author-narrator-character that of the actor. The filmmaker then plays himself generating multiple and interesting procedures of this autofictional presence only possible in audiovisual narration. This article aims to analyse these procedures in French cinematic creation, in which the exhaustiveness and relevance of literary autofiction have a determining influence. The analysis of this practice establishes a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary starting point) to the fictionalisation of the factual (fictional starting point). The second analyses them regarding the filmmaker's presence: from the cinéaste-filmeur(e) who stands behind the camera and records the images himself to the cinéaste-acteur/actrice who exclusively appears in front of it. This cinematic exploration of the self situates the filmmaker in all possible positions, developing autofictional procedures that delve into the concepts of postmodern identity and alterity using parody and irony as efficient tools. In this laboratory of the self, filmmakers experiment with the topics they address-cinematic reflection, creative search, intimate self-knowledge, ideological self-criticism, social and political criticism-as well as they create valuable materialisations of resilience, empathy, sisterhood and even pedagogy.

International audience ; The materialization of autofiction in cinematic practice allows a new identification, adding to the literary author-narrator-character that of the actor. The filmmaker then plays himself generating multiple and interesting procedures of this autofictional presence only possible in audiovisual narration. This article aims to analyse these procedures in French cinematic creation, in which the exhaustiveness and relevance of literary autofiction have a determining influence. The analysis of this practice establishes a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary starting point) to the fictionalisation of the factual (fictional starting point). The second analyses them regarding the filmmaker's presence: from the cinéaste-filmeur(e) who stands behind the camera and records the images himself to the cinéaste-acteur/actrice who exclusively appears in front of it. This cinematic exploration of the self situates the filmmaker in all possible positions, developing autofictional procedures that delve into the concepts of postmodern identity and alterity using parody and irony as efficient tools. In this laboratory of the self, filmmakers experiment with the topics they address-cinematic reflection, creative search, intimate self-knowledge, ideological self-criticism, social and political criticism-as well as they create valuable materialisations of resilience, empathy, sisterhood and even pedagogy.