Suchergebnisse

Das Internet hat die Art, wie wir leben, die Welt und uns selbst wahrnehmen, von Grund auf verändert. Wir arbeiten und kaufen, informieren uns und kommunizieren, treffen unsere IDoFreundeIDk und verlieben uns IBM alles online. Erschien das Netz in den Anfangsjahren noch als Utopie der herrschaftsfreien Kommunikation, haben inzwischen auch Wirtschaft und Politik erkannt, wie einfach sich online (richtige wie falsche) Informationen streuen und Stimmungen erzeugen lassen. Die tiefgreifenden politischen, sozialen und kulturellen Transformationen, die mit dem Siegeszug des Internets einhergehen, sind von Intellektuellen in den letzten Jahren vielfältig reflektiert worden. Dieser Band vereint die wichtigsten Stimmen. (Verlag)

Cover -- Table of Contents -- Acknowledgements -- 1. Media Piracy -- An Introduction -- Case Studies -- 2. Evasionary Publics -- Materiality and Piracy in Rio de Janeiro, Brazil -- Yonatan Reinberg -- 3. Piracy on the Ground -- How Informal Media Distribution and Access Influences the Film Experience in Contemporary Hanoi, Vietnam -- Tony Tran -- 4. Honorability and the Pirate Ethic -- Jonas Andersson Schwarz -- 5. Modchips -- How Hardware Hacking Constitutes Grey Markets, User Participation, and Innovation -- Mirko Tobias Schaefer -- Toward a Theroy of Media Piracy -- 6. On the Political Economy of Copy Protection -- Stefan Meretz -- 7. Paradoxes of Property -- Piracy and Sharing in Information Capitalism -- Jonathan Paul Marshall and Francesca da Rimini -- 8. Reproducibility, Copy, Simulation -- Key Concepts of Media Theory and Their Limits -- Jens Schröter -- The Aesthetics of Piracy -- 9. Degraded Images, Distorted Sounds -- Nigerian Video and the Infrastructure of Piracy -- Brian Larkin -- 10. Slashings and Subtitles -- Romanian Media Piracy, Censorship, and Translation -- Tessa Dwyer and Ioana Uricaru -- Conclusion -- 11. The Triumph of the Pirates -- Books, Letters, Movies, and Vegan Candy - Not a Conclusion -- Tilman Baumgärtel -- Contributors -- Index

In this essay I will examine the question to what extent the Philippine production Feng Shui (Roño, 2004) is a horror film according to the well-established (Western) definitions of the genre. This seems to be a pertinent question as many Filipino horror films are based on ghost stories and folklore from the archipelago, that are often a lived reality and believed in by many people in the Philippines. The fact that Feng Shui as well as other horror films from Southeast Asia are produced for an audience that actually believes in ghosts seems to me to be very relevant for the analysis of these films. I will argue that Feng Shui shares a good number of traits with other Asian ghost films, but that it also features "the return of the repressed" that according to the late film critic Robin Wood is one of the defining features of Western horror movies.

Piazza virtuale by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of Piazza virtuale's approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.

'Piazza virtuale' by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of 'Piazza virtuale's' approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.

Werbung gibt es, seit Menschen anderen etwas verkaufen wollen, also schon immer. Als eigener Wirtschaftszweig mit theoretischer Fundierung hat sie sich aber erst seit dem Ersten Weltkrieg etabliert. Der Band versammelt die wichtigsten Texte zum Begriff der Marke, zu den Methoden der Werbung, zu ihrer Geschichte und Ästhetik und zu ihrer Kritik - aus Wirtschaftswissenschaften, kultur- und sozialwissenschaftlichen Disziplinen und der Literatur. Eine singuläre Textsammlung für Designer und Mediengestalter, Studierende der Medienwissenschaften und alle kulturhistorisch am Phänomen Werbung Interessierte. (Verlagstext)