Suchergebnisse

From film to television : early theories of television in Japan / Aaron Gerow -- Architecture as atmospheric media : Tange Lab and cybernetics / Yuriko Furuhata -- The media theory and media strategy of Azuma Hiroki, 1997-2003 / Takeshi Kadobayashi -- The intercommunication project : theorizing media in Japan's lost decades / Marilyn Ivy -- McLuhan as prescription drug : actionable theory and advertising industries / Marc Steinberg -- The culture industries and media theory in Japan / Miryam Sas -- Girlscape : the marketing of mediatic ambience in Japan / Tomiko Yoda -- 1980s "Nyū Aca" : (non)media theory as romantic performance / Alexander Zahlten -- Critical media imagination : Nancy Seki's TV criticism and the media space of the 1980s and 1990s / Ryoko Misono -- At the source (code) : obscenity and modularity in Rokudenashiko's media -- Activism / Anne McKnight -- An assault on "meaning" : on Nakai Masakazu's concept of "mediation" / Akihiro Kitada -- Much Ado about "Nothing" : The Kyōto school as "media philosophy" / Fabian Schäfer -- Kobayashi Hideo and the question of media / Keisuke Kitano -- Media, mediation, and crisis : a history, and the case for media studies as (postcultural) anthropology / Tom Looser

AbstractIn 2018, scholarship in book/media theory sketched the ways in which books embody time, shape our experience of time, and live in time. In particular, authors examine the book as a material object that resists being placed in a cohesive, progressive history (Whitney Trettien, Deidre Lynch, Michelle Sizemore, John Plotz), and that bends and textures linear temporality through the experience of reading (Christina Lupton). This review also discusses new theoretical discourses surrounding the material book, including new materialism (Jonathan Senchyne), the digital notion of 'interactivity' (The Multigraph Collective), and the concept of rarity (David McKitterick). Recurring through many of the works this year is a call to reconsider our definitions of the book and the archive, as scholars peer into the less well-known, cut-and-paste world of scrapbooks. This chapter is structured under the following headings: 1. The Time of Reading; 2. Books in Time; 3. Books in History; 4. Bookish Agencies.

Across the academy, scholars are debating the question of what bearing scientific inquiry has upon the humanities. The latest addition to the AFI Film Readers series, Cognitive Media Theory takes up this question in the context of film and media studies. This collection of essays by internationally recognized researchers in film and media studies, psychology, and philosophy offers film and media scholars and advanced students an introduction to contemporary cognitive media theory-an approach to the study of diverse media forms and content that draws upon both the methods and explanations of th

Introducing a largely neglected area of existing interactions between Greco-Roman antiquity and media theory, this book addresses the question of why interactions in this area matter, and how they might be developed further. The volume seeks to promote more media attentiveness among scholars of Greece and Rome. It also aims to create more awareness of the presence of the classics in media theory. It foregrounds the persistency of Greco-Roman paradigms across the different strands of media theory. And it calls for a closer consideration of the conceptual underpinnings of scholarly practices around the transformation of ancient Greece and Rome into 'classical' cultures.

This essay examines how "decolonization" has become a buzzword, arguing that its trajectory follows that of "intersectionality," another term popularized in media spaces and embraced by white leftist activists both in and outside of the academy. I propose that discursive activism online can be understood through two modes: extractive currency and redistributive currency. Exposing extractive media practices, this essay considers how "decolonization" has become commodified and stripped of its connection to the vital work of Indigenous people, transformed into what I call an "extractive currency" that promotes self-styled white "radical" voices at the expense of Indigenous sovereignty. Decolonial feminist media theory, I suggest, has a crucial role to play in undoing the power of this extractive currency in favor of a redistributive currency by unveiling the role of media in creating it and, instead, centering models of decolonial feminist activism. This exploration of #MMIW, the social media hashtag drawing attention to missing and murdered Indigenous women, demonstrates how media can be used in tactical ways to transform local activism into transnational phenomena while insisting on the need to attend to the ongoing experience of colonial violence, born from Indigenous dispossession and genocide, that threatens the lives of Indigenous women. In this way, I suggest, decolonial feminist media theory has a crucial role to play in reimagining the economies of media activism.

International audience ; Simon Dawes's introduction to the inaugural issue of Media Theory.

International audience ; Simon Dawes's introduction to the inaugural issue of Media Theory.

International audience ; Simon Dawes's introduction to the inaugural issue of Media Theory.

Abstract
The year's work in book/media theory witnessed a return to three fundamental questions about the 'book': 1. What Is a Book? 2. Who Is a Book? 3. Why Books? The first section of this chapter, 'What Is a Book?', presents a group of scholars who view the book as an object that continues to elude or deny the ways in which we have come to understand it. No other thinker makes this clearer than Jacques Derrida, whose high-theory approach to the 'book' was the focus of Juliet Fleming's masterful Book Theory seminar at the Folger Shakespeare Library in November 2019. Taking a more literal approach to deconstructing the book, Book Parts, a multi-author volume edited by Dennis Duncan and Adam Smyth, breaks down the book into its anatomical components. The next section, 'Who Is a Book?', brings together scholars from various literary disciplines—John Durham Peters, Patricia Badir, and Jonathan Senchyne—who collectively demonstrate how the book is always more than just an object to read or handle; it teems with thought, life, minds, and bodies. The final section, 'Why Books?', explores the enduring purpose, meaning, and future of books in society. Leah Price's public-facing work, What We Talk About When We Talk About Books, and Michaela Bronstein's PMLA article on archiving in light of climate change, reckon with the truths about our own changing human condition that only thinking about books can lay bare.