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Contemporary technology and media era is characterized by aesthetics
domination over logic, ethics and metaphysics. The reality is replaced by
simulation and the picture is more important that the truth. The narcissistic
media shape not only one's perception, but one's experience of the world,
creation of taste and system of values. Therefore, we need a new media
aesthetics that would lead to the development of critical media sensitivity
and comprehension of how media messages emerge and affect the audience. If
there is no critical aesthetics, there exists anesthesia. Being both a media
perception theory and media taste critique, media aesthetics can contribute
to creating a new media culture, realizing human potentials and improving
communication rationality. Aesthetics is a prerequisite of media literacy and
critical media pedagogy. In such a world media can serve as creative
extensions of human perception, tools for comprehension and socialization in
such a way as suggested by poet William Blake: If the doors of perception
were cleansed, everything would appear to man as it is, infinite.

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.

The COVID-19 pandemic has reorganized existing methods of exchange, turning comparatively marginal technologies into the new normal. Multipoint videoconferencing in particular has become a favored means for web-based forms of remote communication and collaboration without physical copresence. Taking the recent mainstreaming of videoconferencing as its point of departure, this anthology examines the complex mediality of this new form of social interaction. Connecting theoretical reflection with material case studies, the contributors question practices, politics and aesthetics of videoconferencing and the specific meanings it acquires in different historical, cultural and social contexts.

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.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media.

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.