Expresiones audiovisuales

Communicating the Environment Beyond Photography is a modern look at how photographers visualize what is happening to people and places on a changing planet. Michelle I. Seelig draws attention to what compels photographers to focus on these important messages, what tools they are using to advocate for just causes, and how photographers engage directly with citizens in a meaningful conversation beyond the photograph. Photographers continue to document the land and nature as they always have; however, today they use all media to advocate wide-ranging environmental concerns. Photographers, filmmakers, and environmentalists engage the public with visual and technologically driven content that is both affordable and portable, allowing advocacy to transcend boundaries in the global community previously overlooked by traditional media. This innovative book showcases strategies practiced by photographers, environmentalists, and advocacy groups in the twenty-first century and will serve as inspiration for future advocates of environmental issues and other important and just causes. Accessible and user-friendly, Communicating the Environment Beyond Photography is a must-read for both future photographers and individuals interested in communicating and advocating for environmental and social change.

From Supernanny to Gilmore Girls, from Katie Price to Holly Willoughby, a wide range of examples of mothers and motherhood appear on television today. Drawing on questionnaires completed by mothers across the UK, this book sheds new light on the varied and diverse ways in which expectant, new and existing mothers make sense of popular representations of motherhood on television. The volume examines the ways in which these women find pleasure, empowerment, escapist fantasy, displeasure and frustration in popular depictions of motherhood. The research seeks to present the voice of the maternal audience and, as such, it takes as its starting point those maternal depictions and motherwork representations that are highlighted by this demographic, including figures such as Tess Daly and Katie Hopkins and programmes like TeenMom and Kirstie Allsopp’s œuvre.

Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges confronting actors, editors, electricians, and others. The authors take on pressing conceptual and methodological issues while also providing insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, it examines working conditions and organizing efforts on all six continents, offering broad-ranging and comprehensive analysis of contemporary screen media labor in such places as Lagos, Prague, Hollywood, and Hyderabad. The collection also examines labor conditions across a range of job categories that includes, for example, visual effects, production services, and adult entertainment. With contributions from such leading scholars as John Caldwell, Vicki Mayer, Herman Gray, and Tejaswini Ganti, Precarious Creativity offers timely critiques of media

Das Buch gibt einen Einblick in die Entwicklung eines Marktes in und
um die deutsche Rechtsmedizin. Seit die Aufmerksamkeit der Medien
eine Währung ist, konkurrieren auf diesem Markt unterschiedliche
Akteure miteinander. Diese Entwicklung geht auf Fernsehsendungen über
Verbrechensaufklärung und Rechtsmedizin zurück und umfasst mehr als
den im US-amerikanischen Diskurs postulierten CSI-Effekt. Dieser
erklärt den Zusammenhang zwischen Fernsehsendungen wie _CSI: Las
Vegas_ und dem Verhalten von Geschworenen vor Gericht und dem
Interesse der Öffentlichkeit an Gerichtsmedizin. Dabei gerät aus dem
Blick, dass die Sendungen in ihren Darstellungen über die Wirkmacht
rechtsmedizinischer Methoden nicht nur sehr unterschiedlich ausfallen
können, sondern dass auch die Folgen dieser medialen Darstellungen
vielfältige gesellschaftliche Entwicklungen anstoßen.

This book examines the translation of classical Hollywood into Disney's feature films from a Deleuzian perspective. Special Affects retells the emergence of Disney animation and classical Hollywood cinema from the perspective of affect and the embodied modes of generating affection. The emergence of these media enables new modes of perception that create "special" sensations of wonder, astonishment, marvel, and the fantastic. Such affections subsequently become mined by consumer industries for profit, thereby explaining the connection between media and consumerism that today seems inherent to the culture industry. Such modes and their affections are also translated into ideology, as American culture seeks to make sense of the sociocultural changes accompanying these new media, particularly as specific versions of American Dream narratives. Special Affects is the first extended exploration of the connection between media and consumerism, and the first book to extensively apply Deleuzian film theory to animation. Its exploration of the connection between the animated form and consumerism, and its re-examination of 21th century animation from the perspective of affect, makes this an engaging and essential read for film-philosophy scholars and students.

Television Criticism, Third Edition by Victoria O'Donnell provides a foundational approach to the nature of television criticism. Rhetorical studies, cultural studies, representation, narrative theories, and postmodernism are introduced for greater understanding and appreciation of the critical perspectives on television with in-depth methods of criticism. Illustrated with contemporary examples, this updated Third Edition includes a new, extensive sample critical analysis of The Big Bang Theory and reflects recent changes in the ways television is viewed across multiple devices and the impact of the Internet on television.

Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

It was over a decade ago that experimental psychologists and media-effects researchers declared the debate on the effects of violent video gaming as "essentially over," referring to the way violence in videogames increases aggressive thoughts, feelings and behaviors in players. Despite the decisive tone of this statement, neither the presence nor popularity of digital games has since diminished, with games continuing to attract new generations of players to experience its technological advancements in the narration of violence and its techniques of depiction. Drawing on new insights achieved from research located at an intersection between humanities, social and computer sciences, Gareth Schott's addition to the Approaches in Digital Game Studies series interrogates the nature and meaning of the "violence" encountered and experienced by game players. In focusing on the various ways "violence" is mediated by both the rule system and the semiotic layer of games, the aim is to draw out the distinctiveness of games' exploitation of violence or violent themes. An important if not canonical text in the debates about video games and violence, Violent Games constitutes an essential book for those wishing to make sense of the experience offered by games as technological, aesthetic, and communicational phenomena in the context of issues of media regulation and the classification of game content "as" violence.

Music Video Games takes a look (and listen) at the popular genre of music games – video games in which music is at the forefront of player interaction and gameplay. With chapters on a wide variety of music games, ranging from well-known console games such as Guitar Hero and Rock Band to new, emerging games for smartphones and tablets, scholars from diverse disciplines and backgrounds discuss the history, development, and cultural impact of music games. Each chapter investigates important themes surrounding the ways in which we play music and play with music in video games. Starting with the precursors to music games – including Simon, the hand-held electronic music game from the 1981s, Michael Austin's collection goes on to discuss issues in musicianship and performance, authenticity and "selling out," and composing, creating, and learning music with video games. Including a glossary and detailed indices, Austin and his team shine a much needed light on the often overlooked subject of music video games.