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"A Companion to Media Authorship offers 28 groundbreaking chapters which investigate the practices, attributions, and meanings of authorship. Revitalizing the study within media and cultural studies, this diverse and global collection provides the definitive work on the subject.-Rethinks cultures of authorship and challenges the concept of auteurism across multiple media forms -Moves beyond notions of the individual to focus on how authorship is collaborative, contested, and networked, examining cultures of authorship and the practicalities of how it works -Draws on the cutting-edge research of scholars and practitioners whose work has produced significant new insights into the field -Examines a wide range of media, including television, social media, radio, videogames, transmedia, music, and comic books -Offers an impressive global focus, including pieces on Mexican music, amateur film production in Nairobi slums, tele-serial production in Kinshasa, Hong Kong film, and the marketing of Bollywood"--

What is television entertainment? -- Art with strings attached: creativity, innovation, and industry -- Broadcasting identities: affect, fantasy, and meaning -- Television unboxed: expansion, overflow, and synergy -- Keeping it real: reality and representation -- Plugging in: politics and citizenship -- Channel interference: television and power

The concept of witnessing has been used to explore the construction of evidence and experience in settings of law, religion, atrocity, media, history and science. Recent research has examined how digital technologies may multiply the involvement of remote, non-present and unanticipated actors in the witnessing of events. This paper examines what digital data practices at Amnesty International's Decoders initiative can add to the understanding of witnessing. It introduces the notion of 'data witnessing' with reference to four projects on (i) witnessing historical abuses with structured data from digitised documents; (ii) witnessing the destruction of villages with satellite imagery and machine learning; (iii) witnessing environmental injustice with company reports and photographs; and (iv) witnessing online abuse through the classification of Twitter data. These projects illustrate the configuration of experimental apparatuses for witnessing injustices with data. In contrast to accounts which emphasise the presence of an individual human witness at the scene, Amnesty's data practices are conspicuously collective and distributed, rendering the systemic scale of injustices at a distance, across space and time. Such practices may contribute to research on both (new) media witnessing and data politics, suggesting ways in which care, concern and solidarity may be constructed, structured, extended and delimited by means of digital data.

There are many social and political repercussions for how data is created and used in 21st‐century collective life, says Jonathan Gray. Employed effectively, it could facilitate human flourishing, advance social progress and strengthen democracy. A reimagining of the politics of data is needed.

This article draws from qualitative and ethnographic work conducted in Malawi to interrogate anew questions of cultural influence by foreign media. Malawi presents a fascinating case for examining such questions, given the almost complete lack of local film or television production and an imperiled music industry, which combine to suffuse film, television, and radio with foreign content. In recent years, moreover, concerns about cultural influence have bubbled up in Malawi. Respondents were therefore asked to discuss their feelings regarding the foreign media presence in the country. Responses suggest the importance of third and subsequent parties to an understanding of cultural influence, as the article examines how Nigerian and American film and television compete with each other, and then examines how minority Tumbuka listeners suspiciously regard Zambian music sung in Malawi's national and majority language, Chichewa. The article aims to complicate theories of cultural influence first by illustrating how multiple cultures jostle for influence, and second by arguing that the often-unitary focus on nation as unit of reception for culture obscures the equal importance of both supranational and subnational cultural units as sites of reception and meaning-making.

Fannish signs provide a sense of community, morale, levity, and hope during protests.

Fannish signs provide a sense of community, morale, levity, and hope during protests.