Comunicación y cultura

The Public Relations Handbook, Fifth Edition provides an engaging overview and in-depth exploration of a dynamic and ever evolving industry. The diverse chapters are united by a set of student friendly features throughout, including clear chapter aims, analytical discussion questions, and key further reading.

Featuring wide ranging contributions from key figures in the PR profession, the new edition presents a new chapter on public relations and activism, alongside discussion of key critical themes in public relations research and exploratory case studies on public relations practices in relation to a variety of different institutions, including The Bank of Scotland, Queen Margaret University, Diabetes UK, Continental Tyres, and Action for Children.

Split into four parts exploring key conceptual themes of the context of public relations, strategic public relations, stakeholder public relations, and shaping the future, the book offers coverage of essential areas including:

public relations, politics and the media
media relations in the social media age
using new technology effectively in public relations
public relations and engagement in the not-for-profit sector
business-to-business public relations
the public relations of globalisation.

On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Mirosław Bałka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for ‘archival’ media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.

In an interactive and densely connected world, transnational communication has become a central feature of everyday life. Taking account of a variety of media formats and different regions of the world, Adrian Athique provides a much-needed critical exploration of conceptual approaches to media reception on a global scale. Engaging both the historical foundations and contemporary concerns of audience research, Athique prompts us to reconsider our contemporary media experience within a transnational frame. In the process, he provides valuable insights on culture and belonging, power and imagination. Beautifully written and strongly argued, Transnational Audiences: Media Reception on a Global Scale will be essential reading for students and teachers of global media, culture and communications.

The focus of this book is on the media representations of the use of the Internet in seeking intimate connections―be it a committed relationship, a hook-up, or a community in which to dabble in fringe sexual practices. Popular culture (film, narrative television, the news media, and advertising) present two very distinct pictures of the use of the Internet as related to intimacy. From news reports about victims of online dating, to the presentation of the desperate and dateless, the perverts and the deviants, a distinct frame for the intimacy/Internet connection is negativity. In some examples however, a changing picture is emerging. The ubiquitousness of Internet use today has meant a slow increase in comparatively more positive representations of successful online romances in the news, resulting in more positive-spin advertising and a more even-handed presence of such liaisons in narrative television and film. Both the positive and the negative media representations are categorised and analysed in this book to explore what they reveal about the intersection of gender, sexuality, technology and the changing mores regarding intimacy.

This book explores the relationship between words and music in contemporary texts, examining, in particular, the way that new technologies are changing the literature-music relationship. It brings an eclectic and novel range of interdisciplinary theories to the area of musico-literary studies, drawing from the fields of semiotics, disability studies, musicology, psychoanalysis, music psychology, emotion and affect theory, new media, cosmopolitanism, globalization, ethnicity and biraciality. Chapters range from critical analyses of the representation of music and the musical profession in contemporary novels to examination of the forms and cultural meanings of contemporary intermedia and multimedia works. The book argues that conjunctions between words and music create emergent structures and meanings that can facilitate culturally transgressive and boundary- interrogating effects. In particular, it conceptualises ways in which word-music relationships can facilitate cross-cultural exchange as musico-literary miscegenation, using interracial sexual relationships as a metaphor. Smith also inspects the dynamics of improvisation and composition, and the different ways they intersect with performance. Furthermore, the book explores the huge changes that computer-based real-time algorithmic text and music generation are making to the literature-music nexus. This volume provides fascinating insight into the relationship between literature and music, and will be of interest to those fields as well as New Media and Performance Studies.

In the age of "complex Tv", of social networking and massive consumption of transmedia narratives, a myriad short-lived phenomena surround films and TV programs raising questions about the endurance of a fictional world and other mediatized discourse over a long arc of time. The life of media products can change direction depending on the variability of paratextual materials and activities such as online commentaries and forums, promos and trailers, disposable merchandise and gadgets, grassroots video production, archives, and gaming. This book examines the tension between permanence and obsolescence in the production and experience of media byproducts analysing the affections and meanings they convey and uncovering the machineries of their persistence or disposal. Paratexts, which have long been considered only ancillary to a central text, interfere instead with textual politics by influencing the viewers’ fidelity (or infidelity) to a product and affecting a fictional world’s "life expectancy". Scholars in the fields of film studies, media studies, memory and cultural studies are here called to observe these byproducts' temporalities (their short form and/or long temporal extention, their nostalgic politics or future projections) and assess their increasing influence on our use of the past and present, on our temporal experience, and, consequently, on our social and political self-positioning through the media.

How can ethics be communicated in an age of globalisation? Is it possible to overcome cultural differences and agree on common values and principles that cross cultural borders? How does globalisation challenge ethics and established moral traditions? How are human rights justified in a global context? This timely collection of essays responds directly to these questions. An international team of contributors pursue issues in ethics, information and communication that include both the classical question of the universality/contextuality of ethics and values, but also new challenges for communication relating to how values and norms are communicated and shared across cultural and political borders. The essays in this book explore theoretical questions of global ethics and ethical universalism, ethics and communication with reference to specific world views and religions, and the challenge of globalisation for ethical communication in particular social arenas.

In 2101, Jace Clayton was an amateur DJ who recorded a three-turntable, sixty-minute mix calledGold Teeth Thief and put it online to share with his friends. Within months, the mix became an international calling card, whisking Clayton away to a sprawling, multitiered nightclub in Zagreb, a tiny gallery in Osaka, a former brothel in S o Paolo, and the atrium of MoMA. And just as the music world made its fitful, uncertain transition from analog to digital, Clayton found himself on the front lines of an education in the creative upheavals of art production in the twenty-first-century globalized world.Uproot is a guided tour of this newly opened cultural space, mapped with both his own experiences and his relationships with other industry game-changers such as M.I.A. and Pirate Bay. With humor, insight, and expertise, Clayton illuminates the connections between a Congolese hotel band and the indie rock scene, Mexican surfers and Israeli techno, Japanese record collectors and hidden rain-forest treasure, and offers an unparalleled understanding of music in a digital age.Uproot takes readers behind the turntable decks to tell a story that only a DJ–and writer–of this caliber can tell.

Princess Diana, Jackie O, Grace Kelly-the star icon is the most talked about yet least understood persona. The object of adoration, fantasy, and cult obsession, the star icon is a celebrity, yet she is also something more: a dazzling figure at the center of a media pantomime that is at once voyeuristic and zealously guarded. With skill and humor, Daniel Herwitz pokes at the gears of the celebrity-making machine, recruiting a philosopher's interest in the media, an eye for society, and a love of popular culture to divine our yearning for these iconic figures and the role they play in our lives. Herwitz portrays the star icon as caught between transcendence and trauma. An effervescent being living on a distant, exalted planet, the star icon is also a melodramatic heroine desperate to escape her life and the ever-watchful eye of the media. The public buoys her up and then eagerly watches her fall, her collapse providing a satisfying conclusion to a story sensationally told-while leaving the public yearning for a rebirth. Herwitz locates this double life in the opposing tensions of film, television, religion, and consumer culture, offering fresh perspectives on these subjects while ingeniously mapping society's creation (and destruction) of these special aesthetic stars. Herwitz has a soft spot for popular culture yet remains deeply skeptical of public illusion. He worries that the media distances us from even minimal insight into those who are transfigured into star icons. It also blinds us to the shaping of our political present.

This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and original interviews, each chapter details the peak period of a city's subcultural activity and assesses the contemporary situation since the post-subcultural period circa 1995 in order to address the impact of globalized culture in the wake of digital and internet technologies. The book aims to challenge existing histories of sub-cultures by looking at less well-known scenes and movements as well as explore DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.