Expresiones audiovisuales

Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter turned family man who struggles with the pressures of small-town life and the limitations placed on him and his community in the Deep South, an area long fraught with racism. Though unmistakably about race and civil rights, the film makes no direct reference to the civil rights movement. Despite this intentional absence, contemporary audiences were acutely aware of the social context for the film's indictment of white prejudice in America. To help frame and situate the film in the context of black film studies, the book gathers primary and secondary resources, including the original screenplay, essays on the film, statements by the filmmakers, and interviews with Robert M. Young, the film s producer and cinematographer, and Khalil Gibran Muhammad, the Director of the Schomburg Center for Research in Black Culture."

Stories of time travel have been part of science fiction since H. G. Wells sent his nameless hero hurtling into Earth's distant future in The Time Machine. Time travel enables the storyteller to depict alternate realities, bring fictional characters face to face with historical figures, and depict moral and ethical dilemmas in which millions of lives (or the world as we know it) are at stake. From Doctor Who and Quantum Leap to the multiple incarnations of Star Trek, time travel has been a staple of science fiction television for more than fifty years. Time-Travel Television: The Past from the Present, the Future from the Past surveys the whole range of time travel stories on the small screen. The essays in this collection explore time travel series both familiar (Babylon 5, Stargate SG1) and forgotten (The Time Tunnel, Voyagers!), as well as time-travel themed episodes and arcs in series where it is not central, such as Red Dwarf, Lost, and Heroes. Contributors to this volume consider some of the classic themes of time-travel stories: the promise (and peril) of "fixing" the past, the chance to experience (and choose) possible futures, and the potential for small changes to have great effects. Exploring time travel as a teaching tool, as a vehicle for moral lessons, and as a background for high adventure, this book offers new perspectives on many familiar programs and the first serious study of several unjustly neglected ones. Time-Travel Television is essential reading for science fiction scholars and fans, and for anyone interested in the many ways that television brings the fantastic into viewers' living rooms.

The acute processes of globalisation at the turn of the century have generated an increased interest in exploring the interactions between the so-called global cultural products or trends and their specific local manifestations. Even though cross-cultural connections are becoming more patent in filmic productions in the last decades, cinema per se has always been characterized by its hybrid, transnational, border-crossing nature. From its own inception, Spanish film production was soon tied to the Hollywood film industry for its subsistence, but other film traditions such as those in the Soviet Union, France, Germany and, in particular, Italy also determined either directly or indirectly the development of Spanish cinema. Global Genres, Local Films: The Transnational Dimension of Spanish Cinema reaches beyond the limits of the film text and analyses and contextualizes the impact of global film trends and genres on Spanish cinema in order to study how they helped articulate specific national challenges from the conflict between liberalism and tradition in the first decades of the 21th century to the management of the contemporary financial crisis. This collection provides the first comprehensive picture of the complex national and supranational forces that have shaped Spanish films, revealing the tensions and the intricate dialogue between cross-cultural aesthetic and narrative models on the one hand, and indigenous traditions on the other, as well as the political and historical contingencies these different expressions responded to.

Offering both beginning and more experienced filmmakers an updated, comprehensive guide to the process of documentary filmmaking In a new edition of this popular guidebook, filmmakers Alan Rosenthal and Ned Eckhardt show readers how to utilize the latest innovations in equipment, technologies, and production techniques for success in the digital, webbased world of documentary film. All twentyfour chapters of the volume have been revised to reflect the latest advances in documentary filmmaking. Rosenthal and Eckhardt discuss the myriad ways in which technological changes have impacted the creation process of documentary films, including how these evolving technologies both complicate and enrich filmmaking today. The book provides invaluable insights for the filmmaker from the film's conception to distribution of the finished film. Topics include creating dynamic proposals, writing narration, and navigating the murky world of contracts. Also included are many practical tips for firsttime filmmakers. To provide context and to illustrate techniques, Rosenthal and Eckhardt reference more than 110 documentaries in detail. A new appendix, "Preparing for Your Career Using the Web and Social Media," guides filmmakers through the process of leveraging social media and crowdsourcing for success in filmmaking, fundraising, and promotion. A daytoday field manual packed with invaluable lessons, this volume is essential reading for both novice and experienced documentary filmmakers.

Runner-up for the British Association of Film, Television and Screen Studies Best Book Prize 2115 Beyond the Screen presents an expanded conceptualization of cinema which encompasses the myriad ways film can be experienced in a digitally networked society where the auditorium is now just one location amongst many in which audiences can encounter and engage with films. The book includes considerations of mobile, web, social media and live cinema through numerous examples and case studies of recent and near-future developments. Through analyses of narrative, text, process, apparatus and audience this book traces the metamorphosis of an emerging cinema and maps the new spaces of spectatorship which are currently challenging what it means to be cinematic in a digitally networked era.

Does the CNN Effect exist? Political communications scholars have debated the influence of television news coverage on international affairs since television news began, especially in relation to the coverage of massive human rights violations. These debates have only intensified in the last twenty years, as new technologies have changed the nature of news and the news cycle. But despite frequent assertion, little research into the CNN Effect, or whether television coverage of human rights violations causes state action, exists. Bridging across the disciplines of human right studies, comparative politics, and communication studies in a way that has not been done, this book looks at television news coverage of human rights in the US and UK to answer the question of whether the CNN Effect actually exists.

Examining the human rights content in television news in the US and UK yields insights to what television news producers and policymakers consider to be human rights, and what, if anything, audiences can learn about human rights from watching television news. After reviewing 21 years of footage using three different types of content analyses of American television news broadcasts and two different types of British news broadcasts, and comparing those results with human rights rankings and print news coverage of human rights, Shawns M. Brandle concludes that despite rhetoric from both countries in support of human rights, there is not enough coverage of human rights in either country to argue that television media can spur state action on human rights issues. More simply, the violations will not be televised.

A welcome and timely book presenting an important examination of human rights coverage on television news.

What does it mean to produce, broadcast, and watch TV today? Television is currently subject to massive economic, structural, institutional, aesthetic, and technological changes, which can be seen primarily in American television: the shift in this medium is especially visible in TV series and their aesthetics. This volume features contributions from the American discussion of television and series in a post-network, post-broadcast, and post-media age, and show: the definition of television is more negotiable than ever.

The textbook offers prospective media designers a practical didactic introduction to all aspects of audio technology relevant to their education with a high level of clarity and understandability. In addition, the publication will serve as an essential, up-to-date reference guide for the day-to-day work of media designers and sound technicians.

This is a renaissance moment for video games—in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples—drawn from popular, indie, and art games—that unpack the gamer’s experience.

Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players’ emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony’s Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero’s Train.

Isbister’s analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.

The volume offers a broad range of academic approaches to contemporary and historical Irish filmmaking and representations of nationality, national identity, and theoretical questions around the construction of Ireland and Irishness on the screen. The first part explores notions of home, space and place as they have been mobilized politically through representations of Irishness. Regional specificities are brought to the fore in explorations of disturbing and dystopian notions of home, the generic use of Dublin city, and the employment of Irish accents in cinema. The second part considers the intricacies of identity representations in cinema. In four chapters it brings together the theme of national identity with questions of gender, sexuality, and stardom. The third part concentrates on films based in, representing or challenging the political and historical situation of Northern Ireland. The final part focuses on Ireland's relationship with international aesthetics and considerations of cinema, from mainstream generic to the perspectives of Irish cinema by overseas audiences. The material explored – the films chosen and the analytical writing invoked – is diverse and innovatively read through a miscellany of methodological approaches.