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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.

The article analyzes the ways to show authority in the culture. Examines visualizations and her rhetoric. Given the symbolic power, the authors consider the existence of it as a principle or a function that someone does. Power is not only recognition of the position of the slave, but sopredelâetsâ through the frustration. This approach allows you to issue a protest of consciousness. ; В статье анализируются способы проявления власти в культуре. Исследуются способы визуализации власти и ее риторика. Учитывая символический характер власти, авторы рассматривают существование ее как принципа или функции, которую кто-то выполняет. Власть определяется не только с признанием позиции подчиненного, но и сопределяется через недовольство. Такой подход позволяет выйти на проблему формирования протестного сознания.

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.