Suchergebnisse

Im Kontext der Medienumbrüche 1900 und 2000 eröffnen die Beiträge des Bandes diskurskritische und de/konstruktivistische Perspektiven auf je spezifische Semiotisierungen der Variable »Geschlecht«. Unter dem Vexierbegriff des (Post-)Gender wird nach ästhetischen Praktiken der Inszenierung, Performanz und Hybridisierung ebenso gefragt wie nach der (Un-)Möglichkeit einer Weiterentwicklung der Theoriebildung über Butler und Haraway hinaus. Einen thematischen Fokus bildet neben den historischen Avantgarden die aktuelle popkulturelle Medienszene; die Beispiele stammen aus Literatur, Kunst, Film, Videoclip, Computerspiel und -technik.

Based on an in-depth discussion between us (six Black PhD and early career researchers), this work explores burgeoning Black feminist and digital media studies in Britain. Our article is rooted in dialogue about Black feminist digital culture, communications, aesthetics, joy, and our different yet interconnected scholarly experiences. We consider who and what shapes the work that we do, the way we approach it, and how it has developed in recent years. Specifically, our thoughts relate to five expansive and interlinked themes: 1. Digital Blackness, Twitter, and Community-Building, 2. Aesthetics, Archives, and Knowledge Production, 3. Pressures, Projections, and Power Dynamics, 4. Research on/as Black Feminist Joy and Pleasure, 5. The Politics of Research. By reflecting on our research and encounters in academia we provide an overview of key aspects of Black feminist and digital media studies in Britain, including how such scholarship is impacted by the specifics of where we are (and have been) located. In doing so, we share insights at the nexus of Black studies, digital studies, cultural studies, and feminist media studies that foreground possibilities, problems, playfulness, and pleasure that can be part of doing Black feminist and digital media studies work in Britain.

The chapters contained in this handbook address key issues concerning the aesthetics, ethics, and politics of violence in film and media. In addition to providing analyses of representations of violence, they also critically discuss the phenomenology of the spectator, images of atrocity in international cinema, affect and documentary, violent video games, digital infrastructures, cruelty in art cinema, and media and state violence, among many other relevant topics. The Palgrave Handbook of Violence in Film and Media updates existing studies dealing with media and violence while vastly expanding the scope of the field. Representations of violence in film and media are ubiquitous but remain relatively understudied. Too often they are relegated to questions of morality, taste, or aesthetics while judgments about violence can themselves be subjected to moral judgment. Some may question whether objectionable images are worthy of serious scholarly attention at all. While investigating key examples, the chapters in this handbook consider both popular and academic discourses to understand how representations of violence are interpreted and discussed. They propose new approaches and raise novel questions for how we might critically think about this urgent issue within contemporary culture. Steve Choe is Associate Professor of Critical Studies in the School of Cinema at San Francisco State University. He is the author of Afterlives: Allegories of Film and Mortality in Early Weimar Germany (2014), Sovereign Violence: Ethics and South Korean Cinema in the New Millennium (2016), ReFocus: The Films of William Friedkin (2021), and is a co-editor of Beyond Imperial Aesthetics: Theories of Art and Politics in East Asia (2019).

In recent years, spectacular images of ruined boats, makeshift border camps, and beaches littered with life vests have done much to consolidate the politics of migration and refugeeism in Europe. The mediation of migration as a crisis, in turn, has done much to shore up certain kinds of humanitarian response, legislative action, and affective investment. Bridging artistic practice and academic inquiry, the essays and artworks gathered in Moving Images interrogate the mediation of migration and refugeeism in the contemporary European conjuncture, asking how images, discourses, and data are involved in shaping visions of migration in increasingly global contexts.

Introduction : Mediating publics and anthropology / Simone Abram and Sarah Pink -- Doing anthropology in public : examples from the Basque country / Margaret Bullen -- The perils of public anthropology? Quiescent anthropology in neo-nationalist Scandinavia / Peter Hervik -- For a creative anthropological image-making : reflections on aesthetics, relationality, spectatorship and knowledge in the context of visual ethnogrphic work in New Delhi, India / Paolo Favero -- A language for re-generation : boundary crossing and re-formation at the intersection of media ethnography and theatre / Debra Spitulnik Vidali -- Social movements and Video Indígena in Latin America : key challenges for 'anthropologies otherwise' / Juan Francisco Salazar -- Anthropology by the wire / Matthew Durington and Samuel Gerald Collins -- Public anthropology in times of media hybridity and global upheaval / John Postill -- Anthropological publics and their onlookers : the dynamics of multiple audiences in the blog 'savage minds' / Alex Golub and Kerim Friedman -- The open anthropology cooperative : towards an online public anthropology / Francine Barone and Keith Hart.

Most media literacy programs fail to take into account the dramatic nature of digitalization, focusing on analog-native media such as the newspaper or digital-native media such as computers and overlooking the process through which these forms are blending and converging. Those trends and ideas includenew digital aesthetics and new social effects caused by digitalization, both of which need to be taken into account in media literacy programs. The aesthetics of digitalization include prepurposing and repurposing content, virtual experience, sampling, interactivity, and manipulation. The new social effects include nonlinearity and content on demand. Digitalization will not immediately replace analog- and digital-oriented programs but needs to be considered as a part of thorough media literacy education.

Was bedeutet es heute, Fernsehen zu produzieren, zu senden und zu schauen?Das Fernsehen ist derzeit massiven ökonomischen, strukturellen, institutionellen, ästhetischen und technologischen Veränderungen unterworfen, die vor allem am amerikanischen Fernsehen ablesbar sind: Insbesondere in der Fernsehserie und ihrer Ästhetik schlägt sich der Wandel des Mediums deutlich nieder.Dieser Band versammelt Beiträge aus der amerikanischen Diskussion über das Fernsehen und die Serie im Post-Network-, Post-Broadcast- und Post-Media-Zeitalter, die zeigen: Die Definition des Fernsehens steht mehr als je zuvor zur Disposition.

Part I: Revolutionary Alternatives of Conjugal Relationships in Chinese Culture -- Chapter 1: Divorce and Remarriage as Revealed in Cantonese Opera: The Phoenix Hairpin and The Return of Lady Wenji -- Chapter 2: A Preliminary Note on the Ancient Sages' "Unmarried" Mothers and the Acceleration of Virtuous Power -- Chapter 3: Creating Romance or Divorce: Marriage Reform in Early 20th Century Chinese Print Media -- Chapter 4: 'Free Love' and 'Free Marriage': An American Female Missionary's Prescription and Chinese Writers' Imagination in the Late 1920s -- Chapter 5: Marriage in Migration and Homecoming: Joseph Conrad's "Amy Foster" and Ha Jin's "The Woman from New York" -- Part II: Reassessment of Contemporary Nuptial Discourse in Various Forms -- Chapter 6: Linguacultural Representation of the Cultural Self and Other in Chinese Women's Discourse on Transnational Remarriage -- Chapter 7: A Visual Interpretation of Eastern and Western Relationships on Wedding Invitation Cards -- Chapter 8: Norwegian Fortune-Teller Henning Hai Lee Yang's I Ching: Emphasis on Marriage during the Surge in Norwegian Divorces and Cohabitation -- Chapter 9: Happily Ever After? Rethinking Marriage in Contemporary Hong Kong.

This volume offers innovative ways to think about speculation at a time when anticipation of catastrophe in an apocalyptic mode is the order of the day and shapes public discourse on a global scale. It maps an interdisciplinary field of investigation: the chapters interrogate hegemonic ways of shaping the present through investments in the future, while also looking at speculative practices that reveal transformative potential. The twelve contributions explore concrete instances of envisioning the open unknown and affirmative speculative potentials in history, literature, comics, computer games, mold research, ecosystem science and artistic practice.

In a range of digital creative productions and digital culture, questions of how to deal with finitude are on the rise. On the one hand, sectors of the digital entertainment industry – specifically computer games developers – are concerned with the question of how to manage `death' digitally. On the other hand, death and suicide have become the impetus for humorous artistic expression. This article tracks the emergence of a digital ethos that is cognizant of consequence, finitude and even death. Rather than pit a 1990s `will to life' against an emerging `death drive', I argue that the shift to an ethos in which dark consequences ensue from digital actions must be understood by working through digital code's technicity and unfolding this relation of technics to both ethics and politics. Although Bernard Stiegler's analysis of technicity goes some way toward unfolding a political analysis of the aesthetics of digital code, his articulation of noopolitics fails to provide us with a way to conduct ourselves digitally in an era of cognitive capitalism. I look to critical software practices and their provisional networked publics, with potential lines of flight for contemporary technoculture via novel digital `codings'.

The essential idea of landscape, that a section of terrain can be appreciated as a visual or aesthetic object, is largely a phenomenon of modern history, tied to processes such as urbanization and the development of tourism. Although the appreciation of landscape in Russia was influenced by European aesthetics, Russia developed a unique approach to its own natural environment, and the Volga River played an important role in that process. When steamship tourism appeared on the Volga in the late nineteenth century, the river became a crucial location for the articulation of a new, scenic aesthetic. But this aesthetic competed with earlier views of Russian landscape, which held that the simple and unspectacular character of the native countryside contrasted favorably with the overly picturesque and inauthentic landscapes of western Europe. Images of the Volga that emerged in guidebooks, travelogues, and visual media took shape in attempts to negotiate between the touristic impulse to appreciate beautiful scenery and more established conceptions of Russian nature as appealing precisely in its lack of picturesqueness.

1. Digital Epistemology - An Introduction -- 2. CCC Vs WWW: Digital Epistemology and Literary Text -- 3. Evoking McLuhan's Juxtapositions in the Digital Age: Archaeology and the Mosaic -- 4. "Books are Machines": Materiality and Agency from the 1960s to the 2010s -- 5. Towards a 21st Century Pedagogy for the Humanities.

Trotz »Spatial Turn« in den Kulturwissenschaften bildet die Verknüpfung von Raum, Wissen und Medien noch immer ein Forschungsdesiderat. Dem begegnet dieser Band, indem er die Wechselverhältnisse von räumlichen Zusammenhängen, medialen Konstellationen und Wissenskonstitution untersucht.Die medien- und geschichtswissenschaftlichen Beiträge analysieren sowohl räumliche und mediale Bedingungen wissenschaftlicher Praxis als auch Räume und Räumlichkeiten von Medien. Dabei richten sie den Blick vornehmlich auf die Konstruktionsweisen von Wissensräumen durch analoge und digitale Medien und fragen aus einer topologischen Perspektive nach der epistemischen Relevanz medialer Anordnungen.

Frontmatter -- Acknowledgements -- Contents -- Introduction -- Conjuring the Religious, the Global and the Mediated -- High Tech Mediations, Low Tech Lifestyles: The Paradox of Natural Parenting in the Digital Age -- Multi-site Mediated Worship: Why Simulcast Sermons Need Live Local Praise Bands -- Silencing the Tongues of Angels? The Aesthetics of Destruction in Environmental Edens -- Anatta in Buddhism and Games: Emptiness and the Magic Circle -- The National Museum and Religious Identity: The "Islamic Period" at Iran's National Museum -- Media, Religion, and the Fabric of Culture and Communication in Contemporary Brazil -- Digitizing Jesus: Expanding Publics and Cultivating Civility with the Jesus Film Smartphone App -- Digital Media and Imperial Formations: The 2012 Lady Gaga Controversy in South Korea -- Media Curation and Re-emergent Religion in Ghana's Roadside Public Sphere -- Religion, Media and Culture in India: Hindutva and Hinduism -- Contributors -- Index

"Due to recent scholarly attention to visual design, much is known about the effects that specific design features have on web surveys, but little attention has been paid to the effects of overall screen design. Applying Norman's (2004) emotional design concepts to web survey design, the authors propose and test hypotheses related to potential detrimental impacts of poor screen aesthetics. To do so, they compare data collected from two versions of the same Student Experience Survey, an experimental design representing poor aesthetics and a control design representing good emotional design. By triggering negative visceral responses and, thus, emotional reactions, the experimental design is predicted to reduce data quality along four avenues: respondent cooperation, substantive response patterns, respondent commitment, and subjective survey experience. Sixteen of 30 total comparisons show reduced data quality on the experimental forms, and all avenues to quality data show some impact. These findings suggest that screen design aesthetics and emotional reactions can impact data quality, independent of survey content. However, the inconsistent results according to some indicators suggest the need for further research on screen design effects to hone our understanding." (author's abstract)