Comunicación y cultura

«La idea de original está estrechamente entrelazada con la de verdad, y la verdad es una técnica cultural que atenta contra el cambio por medio de la exclusión y la trascendencia. Los chinos aplican otra técnica cultural, que opera con la inclusión y la inmanencia. Solo en el terreno de esta última es posible relacionarse con las copias y las reproducciones de manera libre y productiva.»

“Shanzhai” es un neologismo chino que refiere a la apropiación de una forma o una idea, desestimando su estatus de originalidad. Un shanzhai es un fake, una copia pirata, una parodia. Aplicado en un principio a las falsificaciones de productos electrónicos y marcas de ropa, este concepto hoy abarca todos los terrenos de la vida en China: hay arquitectura shanzhai, comida shanzhai, diputados shanzhai y hasta estrellas del espectáculo shanzhai. En tanto su atractivo radica precisamente en la variación funcional e ingeniosa, son mucho más que meras falsificaciones baratas. No pretenden engañar a nadie. Su capacidad de innovación, que es innegable, no se define por el genio o la creación ex nihilo, sino por ser parte de un proceso anónimo y continuado de combinación y mutación.

A partir de la elaboración de este y de otros conceptos presentes en la larga tradición del arte chino así como en el budismo o el taoísmo, el teórico cultural Byung-Chul Han nos revela en este lúcido ensayo algunas claves para comprender los diferentes posicionamientos de Oriente y Occidente frente a problemáticas contemporáneas tales como las leyes de propiedad intelectual, la conservación patrimonial o la clonación. A la creencia occidental en la inmutabilidad y la permanencia de la sustancia, se corresponde una noción de autoría y originalidad: el ser es igual a sí mismo y por ello toda reproducción tiene algo de demoníaco, que destruye la identidad y la pureza primarias. El pensamiento chino, en cambio, es deconstructivo desde sus comienzos, prescinde de toda idea de ser y esencia. Frente a la identidad, reivindica la diferencia transformadora; frente al ser, el camino.

Transborder Media Spaces offers a new perspective on how media forms like photography, video, radio, television, and the Internet have been appropriated by Mexican indigenous people in the light of transnational migration and ethnopolitical movements. In producing and consuming self-determined media genres, actors in Tamazulapam Mixe and its diaspora community in Los Angeles open up media spaces and seek to forge more equal relations both within Mexico and beyond its borders. It is within these spaces that Ayuujk people carve out their own, at times conflicting, visions of development, modernity, gender, and what it means to be indigenous in the twenty-first century.

The Praxis of Social Inequality in Media: A Global Perspective provides a global analysis of the intersection of social inequalities, media, and communication. This volume contains chapters by an international array of scholars and provides case studies from various countries with critical empirical analysis of social inequalities and how they shape media narratives and experiences. The topics examined here include poverty in the media in Britain and Turkey, technology and inequality in Italy and Bangladesh, gender, inequality, and empowerment in India, Mexico, and Australia, and cross national analysis of rape culture, among others.

Becoming Digital examines the transition from the online world we have known to the Next Internet, which is emerging from the convergence of Cloud Computing, Big Data Analytics, and the Internet of Things. The Cloud stores and processes information in data centers; Big Data Analytics provide the tools to analyse and use it; and the Internet of Things connects sensor-equipped devices everywhere to communication networks that span the globe. These technologies make possible a post-Internet society filled with homes that think, machines that make decisions, drones that deliver packages or bombs, and robots that work for us, play with us, and take our jobs. The Next Internet promises a world where computers are everywhere, even inside our bodies, “coming alive” to make possible the unification of people and machines in what some call the Singularity.

This timely book explores this potential as both a reality on the horizon and a myth that inspires a new religion of technology. It takes up the coming threats to a democratic, decentralized, and universal Internet and the potential to deepen the problems of commercial saturation, concentrated economic power, cyber-warfare, the erosion of privacy, and environmental degradation. On the other hand, it also shows how the Next Internet can help expand democracy, empowering people worldwide, providing for more of life’s necessities, and advancing social equality. But none of this will happen without concerted political and policy action. Becoming Digital points the way forward.

At the forefront in its field, this Handbook examines the theoretical, conceptual, pedagogical and methodological development of media literacy education and research around the world.

Building on traditional media literacy frameworks in critical analysis, evaluation, and assessment, it incorporates new literacies emerging around connective technologies, mobile platforms, and social networks. A global perspective rather than a Western-centric point of view is explicitly highlighted, with contributors from all continents, to show the empirical research being done at the intersection of media, education, and engagement in daily life.

Structured around five themes—Educational Interventions; Safeguarding/Data and Online Privacy; Engagement in Civic Life; Media, Creativity and Production; Digital Media Literacy—the volume as a whole emphasizes the competencies needed to engage in meaningful participation in digital culture.

Estudio colectivo en el que se presentan y analizan detalladamente los problemas y retos a los que se enfrentó la UNESCO al poner en marcha la "Convención sobre la protección y promoción de la diversidad de las expresiones culturales", así como las medidas que se tomaron ante la necesidad de medición y regulación de la diversidad cultural en el ámbito audiovisual (cine, televisión, radio, música grabada y videojuegos). Se plantean algunas soluciones para las políticas de cultura y comunicación y las buenas prácticas, se proponen indicadores para dar cuenta de la diversidad en el sector televisivo y se abordan los desafíos presentes de cara a las redes y soportes digitales.

Spectacle 2.1 recasts Debord's theory of spectacle within the frame of 21st century digital capitalism. It offers a reassessment of Debord’s original notion of Spectacle from the late 1960s, of its posterior revisitation in the 1990s, and it presents a reinterpretation of the concept within the scenario of contemporary informational capitalism and more specifically of digital and media labour. It is argued that the Spectacle 2.0 form operates as the interactive network that links through one singular (but contradictory) language and various imaginaries, uniting diverse productive contexts such as logistics, finance, new media and urbanism. Spectacle 2.0 thus colonizes most spheres of social life by processes of commodification, exploitation and reification. Diverse contributors consider the topic within the book’s two main sections: Part I conceptualizes and historicizes the Spectacle in the context of informational capitalism; contributions in Part II offer empirical cases that historicise the Spectacle in relation to the present (and recent past) showing how a Spectacle 2.0 approach can illuminate and deconstruct specific aspects of contemporary social reality. All contributions included in this book rework the category of the Spectacle to present a stimulating compendium of theoretical critical literature in the fields of media and labour studies. In the era of the gig-economy, highly mediated content and President Trump, Debord’s concept is arguably more relevant than ever.

Vemos prostitutas en nuestras ciudades y, sin embargo, seguimos mirándolas como si fueran fantasmas. Este trabajo busca el reconocimiento de estas mujeres como sujetos autónomos, huyendo de miradas paternalistas y criminalizadoras. La autora opta por preguntarles abiertamente sobre su día a día y, todavía más importante, por escucharlas. Entrar en contacto con sus narrativas es la única manera de acceder a la realidad de unas personas que viven continuamente con el estigma. O ¿acaso se puede estudiar la prostitución sin hablar con ellas? Los principales focos de interés de este texto son los debates y argumentos que circulan en el entorno digital acerca de la legalización de la prostitución y el contraste de estos con el discurso de sus protagonistas.

This volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

This book analyzes the way media describe presidential candidates' character and the degree to which this discourse maintains a preference for masculinity in our politics, using content analysis of major print new media outlets.