Suchergebnisse

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.

This article examines mobile phone videos that have been disseminated via YouTube since the beginning of the Syrian civil war to illustrate how media aesthetics and public discourse interact in the perception and interpretation of conflicts as crises. The Syrian civil war has shown that scenes of immediate protest and military action recorded on mobile phones become instruments of war and conflict as they bear a new aesthetics that influences the perception and interpretation of the situation in Syria. The article introduces a research perspective that is informed by discourse analysis and media aesthetics and can be used for the study of the perception and interpretation of war and conflict in relation to social media in general and mobile phone videos in particular. By providing new insights from this perspective for the study of war and conflict reporting, it furthers the debate on the perceptive and interpretive impact of images.

"In The Media Swirl, longtime music video scholar Carol Vernallis focuses on brief audiovisual media-heightened film segments, music videos, trailers, commercials, TikTok, Instagram, and political advertising and newscasts-to provide a toolkit for citizens wanting to participate in our moment. The book offers techniques for reading digital media and audiovisual relations, with close readings of movies like The Great Gatsby (2013) and Transformers 4 (2014), music videos by Beyoncé, Lady Gaga, and Janelle Monáe, and TikTok and YouTube videos. Throughout the book Vernallis argues for the importance of spectacle and its utopic possibilities, refusing to allow spectacle to be claimed by negative attachments. The Media Swirl also seeks to pause and reconsider ethical commitments, especially in light of changing technological regimes, social formations, and understandings of what it means to be human. The book then pivots to new techniques and areas for reading digital media and audiovisual relations, including politics and science. Acknowledging our media landscape's too-muchness, this book claims that through multiple approaches, we can engage with the commons"--

This paper explores the plurality and dynamics of 'cultural heritage' formation in Ghana by looking at key players in the historically constituted heritage arena and the contestations between them. Focusing on the intersecting domains of the state, religion, and entertainment media, it discerns several tendencies with regard to the framing of cultural pasts : mobilization of 'heritage' by the state as part of national identity politics ; contestation of this state project by Pentecostal churches that view 'heritage' as demonic and dangerous ; and revaluation of 'heritage' as aesthetic style in local television and video making. Recent, market-driven trends towards a more positive representation of 'African heritage' depart from earlier state initiatives in their explicit focus on visual style and design, raising new questions about the links between heritage and visual aesthetics and asking for an understanding of cultural heritage that takes into account issues of style, design, and commerce.

Explores the ways in which new forms of visual culture, such as such as the illustrated newspaper, the cheap caricature cartoon, the affordable illustrated book, the portrait photograph, and the advertising poster, worked to shape key Victorian aesthetic concepts.

"This book explores from an aesthetic perspective how mobile phone technology, including mobile phone cameras, are used, and the impact this has on individual creativity and innovation, and on culture, sociality and aesthetics. Based on extensive original research including an ethnographic investigation of how specific images were created and distributed, it argues not that a new form of individual creativity is occurring, rather that a more distributed form of creativity now exists"--