Comunicación y cultura

This book offers an analytical account of the consensus and contestations of the politics of Chinese media at both institutional and discursive levels. It considers the formal politics of how the Chinese state manages political communication internally and externally in the post-socialist era, and examines the politics of news media, focusing particularly on how journalists navigate the competing demands of the state, the capital and the urban middle class readership. The book also addresses the politics of entertainment media, in terms of how power operates upon and within media culture, and the politics of digital networks, highlighting how the Internet has become the battlefield of ideological contestation while also shaping how political negotiations are conducted. Bearing in mind the contemporary relevance of China’s socialist revolution, this text challenges both the liberal universalist view that presupposes ‘the end of history’ and various versions of China exceptionalism, which downplay the impact of China’s integration into global capitalism.

In today’s digital world our social interactions often take place in the form of written comments. We chat, disagree, worship, vent, confess, and even attack in written form in public digital spaces. Drawing on scholarly literature from media and cultural studies, psychology and sociology, Uncovering Commenting Culture charts this commenting territory and outlines why we behave in these ways online. In this timely book, Renee Barnes provides a participatory model for understanding commenting culture that is based on the premise that our behaviours online–including those that cause us most the concern–are not so much an internet problem as a social problem. By looking at a wide variety of online commenting habitats, from the comment threads following news stories, through to specialist forums and social media platforms, the volume provides a comprehensive understanding of the role of online commenting in society and provides suggestions for how we might mitigate bad behaviours.

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.

From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become.

This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.

Situation Comedy, Character, and Psychoanalysis puts the sitcom character on the analyst's couch and closely examines the characters of Basil Fawlty, Lucy Ricardo and Kim from Australia's Kath & Kim, in order to reveal the essential elements that must exist in a sitcom before even the first joke is written. Original in its approach, D.T. Klika uncovers major findings about the sitcom as well as human behavior and relationships that we find 'arresting' and even “familial”.

By offering a new way of reading the sitcom using psychoanalytic theory, this book can be used as a basis for engaging in critical discourses as well as textual analysis of programs. Psychoanalytic theory enables a reading of character motivations and relationships, in turn elucidating the power struggle that exists between characters in this form of comedy. Situation Comedy, Character, and Psychoanalysis shines a light on what is at play in the sitcom that makes us laugh, and why we love the characters we do, only to discover that this form of comedy is more complex than we first thought.

«La historia de las imágenes se inicia en las cavernas y finaliza, por ahora, en la pantalla del ordenador. ¿Quién sabe hacia dónde irá en el futuro? No obstante, el desafío sigue siendo el mismo: cómo representar el mundo tridimensional sobre una superficie de dos dimensiones». David Hockney

Para David Hockney, una imagen es la única forma en que podemos dar razón de lo que vemos. Sin embargo, todos los creadores de imágenes se enfrentan a un problema común: cómo plasmar lo tridimensional, personas, objetos y lugares, sobre una superficie plana. Los resultados suelen clasificarse como cuadros, fotografías o películas. También pueden catalogarse por fechas y estilos: medievales, renacentistas, barrocos… Hockney afirma que, en primer lugar y de manera fundamental, todos son imágenes, ya estén hechos con un pincel, una cámara o un programa digital, ya se encuentren sobre la pared de una caverna o en la pantalla de un ordenador. Y para que comprendamos cómo vemos el mundo que nos rodea —y por tanto a nosotros mismos— es necesaria una historia de las imágenes. Eso es lo que propone este libro.

Con la experiencia y el entusiasmo de toda una vida dedicada a pintar, dibujar y crear imágenes con cámaras, Hockney —en colaboración con el crítico de arte Martin Gayford— explora cómo y por qué se han creado las imágenes a lo largo de los milenios. ¿Qué hace que unas marcas sobre una superficie plana sean interesantes? ¿Cómo se muestra el movimiento en una imagen fija, y, a la inversa, cómo conectan el cine y la televisión con los grandes maestros? ¿Qué maneras hay de condensar espacio y tiempo en una imagen estática sobre un lienzo o en una pantalla? ¿Qué muestran las imágenes: verdades o mentiras? ¿Presentan las fotografías el mundo tal y como lo percibimos?

Con la yuxtaposición de una rica variedad de imágenes —un fotograma de una película de Disney con una xilografía de Hiroshige, una escena de una película de Eisenstein con un cuadro de Velázquez—, los autores traspasan las habituales barreras entre la cultura elevada y el entretenimiento popular, y establecen así unas inesperadas relaciones a través del tiempo y de los diferentes medios, afirmando al mismo tiempo que el cine, la fotografía, la pintura y el dibujo están profundamente interrelacionados. Una historia de las imágenes, obra lúcida y perspicaz, supone pues una importante contribución a nuestra manera de percibir la forma en que representamos la realidad.

There’s Santa Claus, Shakespeare, Mickey Mouse, the Bible, and then there’s Star Wars. Nothing quite compares to sitting down with a young child and hearing the sound of John Williams’s score as those beloved golden letters fill the screen. In this fun, erudite, and often moving book, Cass R. Sunstein explores the lessons of Star Wars as they relate to childhood, fathers, the Dark Side, rebellion, and redemption. As it turns out, Star Wars also has a lot to teach us about constitutional law, economics, and political uprisings.

In rich detail, Sunstein tells the story of the films’ wildly unanticipated success and explores why some things succeed while others fail. Ultimately, Sunstein argues, Star Wars is about freedom of choice and our never-ending ability to make the right decision when the chips are down. Written with buoyant prose and considerable heart, The World According to Star Wars shines a bright new light on the most beloved story of our time.

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground.

Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments.

The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today’s world.

Estamos preparados para produzir conteúdos imagéticos à sociedade da nova ecologia dos meios? O debate é necessário, tanto pela academia como pelo mercado. O cenário oferece algumas transformações não compreendidas. Elas ocorrem naturalmente. Isso nos sugere compreender as ideias de Neil Postman e Marshall McLuhan ao definirem o conceito de ecologia dos meios como o estudo dos meios como ambientes. A preocupação de ambos aconteceu em um momento midiaticamente conturbado, considerando o desenvolvimento da televisão no final dos anos 1961 e a transformação social a partir disso. Marshall McLuhan, ao escrever o livro Understanding Media, já manifestava a sua preocupação em reinterpretar a sociedade dos meios ao declarar que os meios interagem entre si. O rádio transformou a forma das notícias tanto como alterou a imagem no cinema sonoro. A televisão causou mudanças drásticas na programação da rádio, etc.

Com essas preocupações, organizamos a obra “Experimentações Narrativas, Roteiros, Mobilidade e Marketing”, que aborda um debate sobre essa temática a partir dos conceitos da ecologia dos meios. Este livro reúne capítulos resultantes do 1º Congresso Internacional Media Ecology and Image Studies, realizado pela Ria Editorial e pelo GENEM – Grupo de Estudos sobre a Nova Ecologia dos Meios. O congresso, realizado na modalidade 100% virtual, recebeu apoio do DigiMedia – Digital Media Research Centre, a Red INAV – Rede Ibero-americana de Narrativas Audiovisuais e a Cátedra Latino-americana de Narrativas Transmedia. Os textos são redigidos em português ou espanhol, de acordo com o idioma de origem dos autores, ou dos países onde desenvolvem suas investigações.

Estamos preparados para produzir conteúdos imagéticos à sociedade da nova ecologia dos meios? O debate é necessário, tanto pela academia como pelo mercado. O cenário oferece algumas transformações não compreendidas. Elas ocorrem naturalmente. Isso nos sugere compreender as ideias de Neil Postman e Marshall McLuhan ao definirem o conceito de ecologia dos meios como o estudo dos meios como ambientes. A preocupação de ambos aconteceu em um momento midiaticamente conturbado, considerando o desenvolvimento da televisão no final dos anos 1961 e a transformação social a partir disso. Marshall McLuhan, ao escrever o livro Understanding Media, já manifestava a sua preocupação em reinterpretar a sociedade dos meios ao declarar que os meios interagem entre si. O rádio transformou a forma das notícias tanto como alterou a imagem no cinema sonoro. A televisão causou mudanças drásticas na programação da rádio, etc.

Com essas preocupações, organizamos a obra “Semiótica e história, fotografia e informação”, que aborda um debate sobre essa temática a partir dos conceitos da ecologia dos meios. Este livro reúne capítulos resultantes do 1º Congresso Internacional Media Ecology and Image Studies, realizado pela Ria Editorial e pelo GENEM – Grupo de Estudos sobre a Nova Ecologia dos Meios. O congresso, realizado na modalidade 100% virtual, recebeu apoio do DigiMedia – Digital Media Research Centre, a Red INAV – Rede Ibero-americana de Narrativas Audiovisuais e a Cátedra Latino-americana de Narrativas Transmedia. Os textos são redigidos em português ou espanhol, de acordo com o idioma de origem dos autores, ou dos países onde desenvolvem suas investigações.

Este volumen es fruto del trabajo de investigación que viene desarrollando el Grupo de Trabajo Comunicación digital, redes y procesos en América Latina —de título homónimo— en el seno de la Asociación Latinoamericana de Investigadores de la Comunicación (ALAIC), y es fiel reflejo de las profundas transformaciones que América Latina está experimentando en el mundo digital.
Se reúnen aquí una serie de investigaciones interrelacionadas basadas en el análisis de la comunicación digital más allá de lo local y de lo nacional, elaboradas por autores de varios países de esta región cultural. Entre sus páginas encontraremos, entre otros:
—estudios sobre el rol de las hipermediaciones en el mundo actual,
—claves para entender el concepto de la interactividad,
—usos sociales de los portales web en distintas universidades latinoamericanas,
—estrategias digitales comerciales de medios de comunicación públicos,
—usos de internet como práctica liberadora a través, por ejemplo, de las artes…

Así, conocerá el lector cómo el rico crisol cultural conformado por los ciudadanos descendientes de indígenas, europeos, negros y asiáticos que viven en la región se relaciona con el nuevo universo paralelo establecido en el mundo tras la implantación de internet.