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While feminists have long recognised the importance of self-managed, alternative media to transport their messages, to challenge the status quo, and to spin novel social processes, this topic has been an under-researched area. Hence, this book explores the processes of women's and feminist media production in the context of participatory spaces, technology, and cultural citizenship. The collection is composed of theoretical analyses and critical case studies. It highlights contemporary alternative feminist media in general as well as blogs, zines, culture jamming, and street art. ; Elke Zobl and Ricarda Drüeke: Foreword Ricarda Drüeke and Elke Zobl: Introduction. Feminist Media: Participatory Spaces, Networks and Cultural Citizenship Chapter 1: Feminist Media Production and Alternative Economies Elke Zobl and Rosa Reitsamer (with Stefanie Grünangerl): Feminist Media Production in Europe: A Research Report Jenny Gunnarsson Payne: Feminist Media as Alternative Media? Theorising Feminist Media from the Perspective of Alternative Media Studies Brigitte Geiger and Margit Hauser: Archiving Feminist Grassroots Media Red Chidgey: Hand-Made Memories: Remediating Cultural Memory in DIY Feminist Networks Verena Kuni: GENDER JAMMING. Or: Yes, We Are. Culture Jamming and Feminism Stefanie Grünangerl: Making Feminist Media: Feminist Media Activists Share their Views Chapter 2: Participatory Spaces, Networks and Technology Tea Hvala: Streetwise Politics: Feminist and Lesbian Grassroots Activism in Ljubljana Jessalynn Keller: "It's a Hard Job Being an Indian Feminist". Mapping Girls' Feminist Identities and "Close Encounters" on the Feminist Blogosphere Sandra Chatterjee and Cynthia Ling Lee: Choreographing Coalition in Cyber-Space: Post Natyam's Politico-Aesthetic Negotiations Marcus Recht and Birgit Richard: On the Aesthetics of Self-Representation: Mustached "Female" Youth on Flickr.com Tanja Carstensen: Struggling for Feminist Design: The Role of Users in Producing and Constructing Web 2.0 Media Linda Steiner: Using New Technologies to Enter the Public Sphere, Second Wave Style Chapter 3: Cultural Citizenship and Social Change Elisabeth Klaus and Margreth Lünenborg: Cultural Citizenship. Participation by and through Media Anita Harris: Online Cultures and Future Girl Citizens Ricarda Drüeke: Rethinking Political Communication and the Internet: A Perspective from Cultural Studies and Gender Studies Sigrid Kannengießer: Digital Storytelling to Empower Sex Workers: Warning, Relieving and Liberating Alison Piepmeier: Pedagogy of Hope: Feminist Zines Elke Zobl: From DIY to Collaborative Fields of Experimentation: Feminist Media and Cultural Production towards Social Change – A Visual Contribution

Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene Erzählung hinaus. In einer Reihe von Fallstudien wird die Arbeit sowjetischer Filmemacher, Drehbuchautoren, Filmtheoretiker und Toningenieure analysiert, um zu demonstrieren, dass in der Sowjetunion in der Frühphase des Filmtons sehr unterschiedliche Haltungen zum Ton existierten. Die Dissertation konzentriert sich sowohl auf die Theorien des Filmtons als auch auf die Praktiken, wobei es sich unter anderem auf Dziga Vertov, Nikolai Ekk, Michail Cechanovskij und Pavel Tager bezieht. Die Begriffe "Asynchronizität" und "Synchronizität" haben in den Debatten über die Einführung des Tonfilms in der Sowjetunion eine zentrale Rolle gespielt. Die vorliegende Dissertation bietet die erste grundlegende Untersuchung dieser Begriffe innerhalb des Kontextes der komplexen Ursprünge des frühen sowjetischen Tonfilms. ; The dissertation is a media-historical study of the emergence of sound in Soviet cinema, which links aesthetic and technological changes to the broader political and cultural context. Over the last decade, histories of early sound film have usually contrasted the Soviet method of asynchronous sound to the prevalent method of tight synchronization as it was popularized by the Hollywood film industry in the late 1920s and early 1930s. The dissertation looks beyond this standardized narrative. In a series of case studies, it analyzes the work of Soviet filmmakers, screenwriters, film theoreticians and acoustical engineers to demonstrate that many diverse approaches to sound were actually in play at the onset of film sound in the Soviet Union. The dissertation focuses on both film sound theory and practice mainly in the works of Dziga Vertov, Nikolai Ekk, Pavel Tager and Mikhail Tsekhanovsky. The terms "asynchronicity" and "synchronicity" were central in the debates about the emergence of sound film in the Soviet Union. This study provides the first thorough examination of these terms within the context of the complex origins of early Soviet sound cinema.