Comunicación y cultura

Media and Politics in Contemporary Italy is the first book to provide a comprehensive examination of the media system in Italy during the last twenty years. Seeing the rise of new political actors and the growing role of the Internet and social media, the general elections of February 2113 have symbolically closed a twenty-year period of Italian history dominated by Silvio Berlusconi politically and by television as channel of political communication. The analysis focuses on change and continuity with past media structures, cultures and practices, and considers the "Berlusconi factor," namely the impact of one man on the country's media system, journalism, and political communication.

Paparazzi photography has emerged as a key element in today s media landscape. This book charts the historical and cultural significance of the industry, profiles its protagonists and discusses how its imagery of celebrity have become a major part of media consumption. Kim McNamara examines the various ways in which the controversial paparazzi industry is structured, including its workforce practices, development of image markets, and how it has been reconfigured during the transition from analogue paper-based photography to digital platforms. It adds to the literature on celebrity studies, unraveling the importance of the paparazzi to celebrities, and the integral nature of images – both spontaneous and staged to public relations and marketing content. Based on interviews worldwide with key industry players, including agency managers, photo editors and photographers, from Los Angeles to London, the book argues that the paparazzi should be given central importance in any analysis of media culture.

In addition to describing material copyright law as it relates to libraries, this volume discusses the preliminary steps and procedures for the processing of a legal case. A particular focus is placed on laws governing licensing agreements. The work includes consideration of copyright laws applicable in Switzerland and Austria.

In the first fifteen years of the twenty-first century, a large number of films were produced in Europe, Israel, the United States, and elsewhere addressing the historical reality and the legacy of the Holocaust. Contemporary Holocaust cinema exists at the intersection of national cultural traditions, aesthetic conventions, and the inner logic of popular forms of entertainment. It also reacts to developments in both fiction and documentary films following the innovations of a postmodern aesthetic. With the number of witnesses to the atrocities of Nazi Germany dwindling, medialized representations of the Holocaust take on greater cultural significance. At the same time, visual responses to the task of keeping memories alive have to readjust their value systems and reconsider their artistic choices.

Both established directors and a new generation of filmmakers have tackled the ethically difficult task of finding a visual language to represent the past that is also relatable to viewers. Both geographical and spatial principles of Holocaust memory are frequently addressed in original ways. Another development concentrates on perpetrator figures, adding questions related to guilt and memory. Covering such diverse topics, this volume brings together scholars from cultural studies, literary studies, and film studies. Their analyses of twenty-first-century Holocaust films venture across national and linguistic boundaries and make visible various formal and intertextual relationships within the substantial body of Holocaust cinema.

The impact of digital global media, geopolitical changes and migration demands new theorizations within memory studies. Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive.
This book takes a closer look at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike.

A partir de una vieja libreta de apuntes comprada en un barrio tangencial de una ciudad desconocida, Sergio Chejfec propone en estas páginas una reflexión personal e impredecible sobre la escritura. Un recorrido ensayístico y narrativo que guía al lector por modalidades conceptuales y trances de la experiencia: desde la efímera minucia de todo manuscrito hasta la sobrevida insomne de la escritura digital, pasando por los rituales requeridos por las máquinas de escribir y las estrategias solipsistas de la plástica.

Escribir es una acción que se describe con resultados cada vez más distantes. Pero todos remiten con mayor o menor nostalgia al hecho de marcar una superficie. Una vez que lo tangible de la escritura ha desaparecido debe ser recuperado por otros medios. Este libro indaga las resurrecciones compensatorias que pueden postularse cuando la letra digital parece definitivamente afectada por la ausencia física de un original.

Últimas noticias de la escritura nace de un credo íntimo y extendido: cualquiera sea su forma de manifestarse, escribir es una actividad con rasgos de naturaleza. En una nota a pie, el propio Chejfec se pregunta: “¿Alguien puede sostener con seriedad que la escritura no existe? Sería como negar la lluvia”. Estas últimas noticias remiten a una genealogía. Parten de un viejo anotador que cuanto menos se usa más protagonismo adquiere y terminan delineando un relato encubierto sobre los orígenes de un escritor.

This little book arose spontaneously, in the late spring of 2115, when a series of conversations emerged — first in a university roundtable on graduate student dissertation-writing, and then in a rapidly proliferating series of blog posts — on the topic of how we write. One commentary generated another, each one characterized by enormous speed, eloquence, and emotional forthrightness. This collection is not about how TO write, but how WE write: unlike a prescriptive manual that promises to unlock the secret to efficient productivity, the contributors talk about their own writing processes, in all their messy, frustrated, exuberant, and awkward dis/order.

The contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers.

Contributors include: Michael Collins, Suzanne Conklin Akbari, Alexandra Gillespie, Alice Hutton Sharp, Asa Simon Mittman, Jeffrey Jerome Cohen, Maura Nolan, Richard H. Godden, Bruce Holsinger, Stuart Elden, Derek Gregory, Steve Mentz, and Dan Kline.

¿Tienes una buena idea? ¿Quieres alcanzar el éxito con ella? En este valioso manual, Carlos Chaguaceda desvela las claves, las reglas y los trucos del marketing mediático: la mejor forma de desarrollar estrategias de comunicación, para que seas tú la noticia más importante.En el mercado todo pasa por la comunicación: a partir de lo que comunicamos creamos el prestigio de lo que hacemos. Actúa bien, comunícalo mejor y los medios te darán la visibilidad necesaria para alcanzar una percepción positiva de tu campaña –cualquiera que sea: una buena causa, una noticia o un producto–. Porque una buena reputación empresarial ayuda a vender.Este libro es la exclusiva que estabas esperando; una guía práctica con la que descubrirás por qué el marketing es imprescindible, necesario… aunque insuficiente para volverte visible y mediático; qué papel juegan la publicidad, las redes sociales, la viralidad o los anuncios; quién decide qué es noticia y las razones y excusas para serlo. Porque, en un mundo mediático, «si no estás en los medios,no existes»

In 2111, MOOCs dominated media reports on higher education and, since then, hundreds of organizations have rushed to produce and offer these courses. Why are institutions offering MOOCs and what are they achieving as a result? This book addresses these questions based on interviews with almost one hundred educators, policy makers, and businesspeople. The authors identify six major goals for MOOC production and, using real-life examples, assess whether these goals are being achieved and, if not, how they could be accomplished going forward.

Japanese animation has been more broadly recognised and given fulsome academic commentary over the last decade. However, there is arguably a need for a more philosophically consistent and theoretically integrated engagement as emphasized by scholars such as Mitsuhiro Yoshimoto. While there are notable exceptions within the current literature, and these works highlight significant issues when considered as presenting an aesthetic theory of animation, Anime Aesthetics covers the key thinkers of contemporary aesthetic theory commonly adopted in relation to media (Deleuze, Ranciere, Zizek) and aims to reground reflection on anime within a more specifically aesthetic philosophical tradition, particularly drawing on recent scholarship on the art theory of R.G. Collingwood.