Bøker i Anthem Global Media and Communication Studies-serien

The changes triggered by the global financial crisis in 2008, the immigration flows and the covid-19 pandemic in contemporary societies have transformed the way individuals communicate, create content, and 'consume' publicly available information. Consequently, political, societal, and financial pressures have led to alternative forms of media practice and representations and disrupted the core relationships and dynamics between politics, journalism, and society. In this context, several challenges emerge which are related to deeper social and cultural changes. Such challenges influence political communication and its relationship with the media and further impact the boundaries between private and public domains. Some of these challenges also constitute a direct challenge to democratic values and in some cases work against the preservation and strengthening of democracy. Moreover, all these developments are taking place at a time where democracy itself and its 'chronic diseases' are under criticism by new forms of authoritarianism and totalitarianism. This edited book examines the key challenges in political discourse and journalistic practice in times of crises. It focuses on European paradigms and links political rhetoric and media challenges with the societal, political, and financial crises from 2008 until the present.

Based on an extensive ethnographic study of television and audiences in class-divided Philippines, this is the first book to take a bottom-up approach in considering how people respond to images and narratives of suffering and poverty on television. Arguing for an anthropological ethics of media, this book challenges existing work in media studies and sociology that focuses solely on textual analysis and philosophical approaches to the question of representing vulnerable others. Current questions in media ethics, such as whether to portray sufferers as humane and empowered individuals or show them 'at their worst' have so far used textual and visual analyses to convey the researcher's own moral position on the matter. In contrast, this book, inspired by the anthropology of moralities, accounts for the different interpretations and moral positions of audiences, who are positioned in various degrees of social and moral proximity to those they see and hear on television. Winner of the 2016 Philippine Social Science Council Excellence in Research Award.

'Screen Writings: Genres, Classics, and Aesthetics' offers close readings of genre films and acknowledged film classics in an attempt to explore both the aesthetics of genre and the definition of 'classic' - as well as the changing perception of so-called classic movies over time. Implicitly theoretical as much as it is unashamedly practical, this book is a model not only of text analysis, but also of the enlightened deployment of cultural studies in the service of film study. The book includes re-considerations of such classic films as I vitelloni, Grand Illusion, Winter Light, and Tokyo Story; it features genre examinations of the war film (Flags of Our Fathers and Letters from Iwo Jima), farce (Some Like It Hot), the road film (The Rain People), the New York-centered movie (Manhattan), and avant-garde pictures that privilege narrative (3-Iron and Eternal Sunshine of the Classic Mind); and 'Screen Writings: Genres, Classics, and Aesthetics' concludes with a searching investigation of the rise of the New American Cinema during a tumultuous decade of social change - from the late 1960s to the early 1970s.

Publishing is in crisis. Publishing has always been in crisis, but today's version, fuelled by the digital boom, has some frightening symptoms. Trade publishers see their mid-lists hollowed, academic customers face budgetary pressures from higher education spending cuts, and educational publishers encounter increased competition across their markets. But over the centuries, forced change has been the norm for publishers. Somehow, they continue to adapt.This ground-breaking study, the first of its kind, outlines a theory of publishing that allows publishing houses to focus on their core competencies in difficult times while building a broader notion of what they are capable of. Tracing the history of publishing from the press works of fifteenth-century Germany to twenty-first-century Silicon Valley, via Venice, Beijing, Paris and London, 'The Content Machine' offers a new understanding of media and literature, analysing their many connections to technology and history. In answer to those who insist that publishing has no future in a digital age, this book gives a rejuvenated identity to this ever-changing industry and demonstrates how it can survive and thrive in a period of unprecedented challenges.

''South Asian Media Cultures'' examines a wide range of media cultures and practices from across South Asia, using a common set of historical, political and theoretical engagements. In the context of such pressing issues as peace, conflict, democracy, politics, religion, class, ethnicity and gender, these essays explore the ways different groups of South Asians produce, understand and critique the media available to them.

'South Asian Media Cultures' examines a wide range of media cultures and practices from across South Asia, using a common set of historical, political and theoretical engagements.

'Action!' draws on the very best published and unpublished interviews of the 'Bright Lights Film Journal', and contains many gems, including the last ever interview given by Francois Truffaut, four months before he died.

There was never such a thing as true freedom of speech. In the past, in order to speak freely you had to have access to a printing press, a newspaper, a radio or a TV station. And everywhere you had to get past the editors. Only members of the elite ever did the articulate and well-behaved 'representatives' of ordinary people. But those ordinary people hardly, if ever, had a chance to speak publicly and freely. Until now. The age of blogging has begun. The internet revolution has given us all a chance to be irreverent, blasphemous and ungrammatical in public. We can reveal secrets, blow whistles, spill beans or just make stuff up. The old elites don't like it. In fact, they really, really hate it. Blogs are commonly shut down, and bloggers are silenced, reprimanded and fired from their jobs. Suddenly modern liberal society reveals a repressive face that few of us knew existed. Should we behave ourselves? Should we fall silent? Absolutely not! Let's call them on their hypocrisy. Let's demand that modern liberal society lives by the principles it claims to embrace. Bloggers of the world, unite! You have nothing to lose but your gags.

'World Cinema and the Visual Arts' combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. The films analysed encompass a wide geographical base, and have been drawn from a diverse array of cultural traditions.

'Action!' draws on the very best published and unpublished interviews of the 'Bright Lights Film Journal', and contains many gems, including the last ever interview given by Francois Truffaut, four months before he died.

Has Indias shift to neoliberalism since the 1990s led to a heightened awareness of time and its passing, an intense preoccupation with youth, and anxieties over the relations between generations? The Politics of Time and Youth in Brand India discusses the politics of time that have emerged in popular discourses across cinema, television, print and consumer culture, arguing that contests over conceptions of time are, in fact, sites of battle between labour and capital.Kapur shows how the recent political-economic shift in India is accompanied by a new emphasis on youth and a preoccupation with change, novelty and the acceleration of time. This perception of time is examined through an interdisciplinary approach, drawing on critical theory and cinema and media studies, as well as two concepts from Marxist-feminist theory. The first focuses on the notion of capitalist development as a systemic form of underdevelopment, which perpetuates a radicalised individualism while simultaneously erasing selfhood, as each life-time is reduced to homogenous, commodified units of time, each with a varying price dependent upon ones position in the market. The second is the critique of the time-orientation of capitalism and its promise of freedom through novelty where, in fact, its reliance upon a system of private accumulation based on exploitation favours calculations of profits in the present over investing in the future. Together, these approaches shed light on Indias contemporary cultural politics, explaining how the countrys shift to neoliberalism is deeply intertwined with profound conflicts over conceptions of time, youth and the relations between generations.

This book explores the history of hypertext, an influential concept that forms the underlying structure of the World Wide Web and innumerable software applications. Barnet combines an analysis of contemporary literature with her exclusive interviews with those at the forefront of the hypertext innovation. She tells both the human and the technological story, tracing its path back to an analogue device imagined by Vannevar Bush in 1945, before modern computing had happened.'Memory Machines' offers an expansive record of hypertext over the last 60 years, pinpointing the major breakthroughs and fundamental flaws in its evolution. Barnet argues that some of the earliest hypertext systems were more richly connected and in some respects more flexible than the Web; this is also a fascinating account of the paths not taken.Barnet ends the journey through computing history at the birth of mass domesticated hypertext, at the point that it grew out of the university labs and into the Web. And yet she suggests that hypertext may not have completed its evolutionary story, and may still have the capacity to become something different, something much better than it is today.

'World Cinema and the Visual Arts' combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. The films analysed encompass a wide geographical base, and have been drawn from a diverse array of cultural traditions.

From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television is a comprehensive and accessible introduction to key debates concerning the representations of motherhood, motherwork and the maternal role in contemporary television programming. The volume looks at the construction of motherhood in the ostensibly female genre of soap opera; the mother as housewife in the domestic situation comedy; deviant, desiring and delinquent motherwork in the teen drama; the single working mother in the contemporary dramedy; the fragile and failing mother of reality parenting television; the serene and selfless celebrity motherhood profile; and the new mother in reality pregnancy and childbirth television. Motherhood and Popular Television examines the depiction of motherhood in this wide range of popular television genres in order to illustrate how the maternal role is being constructed, circulated and interrogated in contemporary factual and fictional programming, paying particular attention to the ways in which such images can be seen to challenge or conform to the ideal image of the good mother that dominates the contemporary cultural landscape.

Commercial cinema has always been one of the biggest indigenous industries in India, and remains so in the post-globalization era, when Indian economy has entered a new phase of global participation, liberalization and expansion. Issues of community, gender, society, social and economic justice, bourgeois-liberal individualism, secular nationhood and ethnic identity are nowhere more explored in the Indian cultural mainstream than in commercial cinema. As Indian economy and policy have gone through a sea-change after the end of the Cold War and the commencement of the Global Capital, the largest cultural industry has followed suit. For example, the global Indian community (known in Indian official terms as the Non-Resident Indian or the NRI) has become an integral part of the cultural representation of India.The politics and ideology of Indian commercial cinema have become extremely complex, offering a fascinating case-study to scholars of Global Culture. Of particular interest is the re-positioning of individual identity vis-à-vis nation, religion, class, and gender. On one hand, the definition of ''nationhood'' and/or community has become much more fluid, keeping in tune with the sweeping universal claims of globalization; the films have consequently revised the scope of their narratives to match India''s emerging global business ambitions. On the other hand, the political realities of India''s long-standig enmity with Pakistan and the international rise of ''Hindutva'' has also contributed to a new strain of jingoism in Indian cinema. ''Bollywood and Globalization'' is a significant scholarly contribution to the current debate on Indian cinema, nationhood and Global Culture. The articles represent a variety of theoretical and pedagogical approaches, and the collection will be appreciated by students and scholars alike.

This book is a collection of incisive articles on the interactions between Indian Popular Cinema and the political and cultural ideologies of a new post-Global India.

"e;Unhomely Cinema"e; explores how the unhomely nature of contemporary film narrative provides an insight into what it means to dwell in today's global societies. Drawing from Freud's concept of the uncanny - that frightful and inexplicable experience of the home as foreign and strange - the unhomely speaks to the spatial dislocation, transience, homelessness and disempowerment symptomatic of contemporary global societies.While uncanny homes are traditionally associated with the science fiction and horror genres, "e;Unhomely Cinema"e; shows how an array of film genres - from Michel Gondry's comedy "e;Be Kind Rewind"e; to Laurent Cantet's eerie suspense thriller "e;Time Out"e; - use the figure of the precarious home to engage with some of the most pertinent social and cultural issues involved in the question of "e;making home."e;Encounters with the unhomely often result in the painful loss of home, but the unhomely can also offer an ethics of dwelling, whereby the impossibility of narrative closure represents new and more hopeful ways of dwelling in the world.