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"In the age of digital communication and global capitalism, people's mental, social and natural environments are interconnected in complex and often unpredictable ways. This book focuses on the visual media, one of the key factors in shaping the contemporary ecology of colliding environments. Case-studies include video artists, community media activists, television programme makers and literary authors in the fourth most populous country in the world, Indonesia. The author demonstrates that these actors are part of an international creative and social vanguard that reflect on, criticise and rework the multidimensional impact of the visual media in imaginative and innovative ways. Their work explores alternative and more sustainable presents and futures for Indonesia and the world. This research is urgent and timely, as Indonesia has emerged in recent years as one of the world's most vibrant hubs for contemporary art and media experimentation"--

The following statement was adopted by the AAA Executive Board on November 28, 2001, acting on a draft prepared by the Society for Visual Anthropology. Dedicated to promoting the status of ethnographic visual media in anthropology, this section has been judged by the AAA Governing Board to be best suited to provide guidelines for the evaluation of film and related audio‐visual media in the consideration of hiring, promotion, and tenure.

As digital media become increasingly affordable and accessible, visual representation in archaeology is expanding across several dimensions. In this essay, I examine some emerging forms of visual media in archaeology, including online documentaries, maps and photographs, hypermedia, experimental films, and peripatetic video. Visual media offer powerful opportunities for engagement with the public. In addition, archaeologists are finding new ways to use the visual in interpretation, analysis, and critique. Experimental visual works often are self‐consciously reflexive, questioning and exposing the ways archaeological knowledge is constructed, represented, and disseminated.

On 15th October 2011, hundreds of anti-capitalist protestors assembled into a spectacular carnivalesque procession towards Paternoster Square; the heartland of London's banking district. Beginning with Althusser's concept of 'interpellation', this book examines Occupy LSX St Paul's Cathedral in relation to media spectacle. Initially focusing on arrival narratives, it asks the question: were the 15th October 2011 anti-capitalist protestors 'hailed' into becoming the subjects of Occupy LSX St P

Introduction / Jennifer Coates and Eyal Ben-Ari -- A question of form : dissent and the Nouvelle vague / Isolde Standish -- Negotiating sex, the bizarre, and politics : the Abe Sada incident in films / Katsuyuki Hidaka -- The four lives of Matsugorō the Lawless : agency, constraint and what is "worthy" of film censorship in trans-war Japan / Iris Haukamp -- Tarzan and Japan : racial portraits of a nation in Boy Kenya / Deanna T. Nardy -- Down in the dumps : Tokyo wastelands and marginalized groups in Japanese film and anime / Alisa Freedman -- Cinema at the edge of the world : visions of precarity in the films of Kumakiri Kazuyoshi / Lindsay Nelson -- How to remember 3.11? Post-Fukushima documentary and the politics of Tōhoku documentary trilogy (2011-2013) / Ran Ma -- The Japanese Self-Defence Forces and cinematic productions : resonance and reverberation in the normalization of organized state violence / Atsuko Fukuura and Eyal Ben-Ari -- Politicizing the audience? Film fans' experiences of cinema in the 1960s / Jennifer Coates -- Cinematic responses to queer aging / Yutaka Kubo.

Explores the relationship between visual media, the construction of Canadian national identity, and notions of embodiment. It asks how representations of bodies are constructed and performed within mediated content, and emphasizes the ways individuals destabilize national visual tropes, and can destabilize nationalist messages.

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

In 1940, a total of 1,500,000 students (16 per cent of the 18–21-year-olds) were in attendance in American colleges. This was before the advent of G.I. education, which brought the figure up to 2,350,000 (24 per cent of the 18–21-year-olds).These vast numbers of students, presenting a challenge to the present generation of college teachers, are of particular portent to the political scientist. The latter, relying largely in the past on his own interpretation of the subject matter based upon standard texts as "the method" for courses in government, is faced with the problem of mass education; as a result, some of the standard teaching techniques are ineffectual. Under these conditions, to what extent can technological changes in mass communication media which have for the most part been ignored at the college level make a contribution?Audio-visual materials are available and in standard use in medical schools; teaching operative procedures from a televised performance was a regular part of the last medical convention at Atlantic City. Science equipment consisting of laboratories, museums, Balopticans, slide projectors, and motion picture machines are standard for science departments. Even college budget officers, immune to faculty pressure of various types, are sensitive to the demands of science departments for equipment. Such sensitivity, however, does not apply to the social sciences; budget officers still need to be convinced that social science departments have equipment requirements, beyond an allotment to the library for new books.