Expresiones audiovisuales

This book examines the historical and contemporary tensions around mobility and identity in Europe in relation to experimental moving image practices in contemporary art and cinema. Drawing on theories of migrant and diasporic cinema, projected image art, and mobility studies, Bayraktar provides historically situated close-readings of films, videos, and cinematic installations that concern diverse mobilities across Europe, the Middle East, and Africa. The geopolitical focus of the book, Europe, is at the same time understood as a site of contention: the works analyzed challenge territorially bounded conceptions of identity and culture; they establish a non-Western counter-geography of Europe, which has produced multiple "others" in its constant efforts to recompose its identity and borders. This interdisciplinary study underscores the ways European ideals of mobility and fluidity are deeply enmeshed with immobility, forced migration, illegalization, inequality, racism, and xenophobia. Ultimately, Bayraktar asserts that recent transformations in the cinematic form parallel Europe’s concurrent geopolitical transformations: As European borders have multiplied and become highly flexible, expanding to non-European territories and manifesting themselves in European metropolitan centers, airports, ports, and detention centers, the aesthetic borders between cinema and art have also become blurred, producing a new form of moving image art that defies easy categorization. This shift is contextualized in relation to the broader 'cinematic turn' in contemporary art seen in the growing prominence of screen-based works and cinematic installations in galleries, international art exhibitions, and biennials worldwide.

The trajectory of Hong Kong films had been drastically affected long before the city's official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia's cinematic landscape. The author introduces the "Cinema of Transitions" to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1981s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which "transitions" are negotiated.

In Cold War historiography, the 1961s are often described as a decade of mounting diplomatic tensions and international social unrest. At the same time, they were a period of global media revolution: communication satellites compressed time and space, television spread around the world, and images circulated through print media in expanding ways. Examining how U.S. policymakers exploited these changes, this book offers groundbreaking international research which shows that U.S. power came to depend more and more not on military superiority or economic strength alone, but also on America's ability to create appealing pictures that assured recognition of its global leadership.

Do video games cause violent, aggressive behavior? Can online games help us learn? When it comes to video games, these are often the types of questions raised by popular media, policy makers, scholars, and the general public. In this collection, international experts review the latest research findings in the field of digital game studies and weigh in on the actual physical, social, and psychological effects of video games. Taking a broad view of the industry from the moral panic of its early days up to recent controversies surrounding games like Grand Theft Auto, contributors explore the effects of games through a range of topics including health hazards/benefits, education, violence and aggression, addiction, cognitive performance, and gaming communities. Interdisciplinary and accessibly written, The Video Game Debate reveals that the arguments surrounding the game industry are far from black and white, and opens the door to richer conversation and debate amongst students, policy makers, and scholars alike.

Tracing the rise and development of the Ghanaian video film industry between 1985 and 2110, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular filmmaking in Ghana as a new medium for the imagination and tracks the interlacing of the medium’s technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other.

Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industry’s representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of “film as revelation,” Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.

The antihero prevails in recent American drama television series. Characters such as mobster kingpin Tony Soprano (The Sopranos), meth cook and gangster-in-the-making Walter White (Breaking Bad) and serial killer Dexter Morgan (Dexter) are not morally good, so how do these television series make us engage in these morally bad main characters? And what does this tell us about our moral psychological make-up, and more specifically, about the moral psychology of fiction?

Vaage argues that the fictional status of these series deactivates rational, deliberate moral evaluation, making the spectator rely on moral emotions and intuitions that are relatively easy to manipulate with narrative strategies. Nevertheless, she also argues that these series regularly encourage reactivation of deliberate, moral evaluation. In so doing, these fictional series can teach us something about ourselves as moral beings―what our moral intuitions and emotions are, and how these might differ from deliberate, moral evaluation.

¿Es la imagen que de la política ofrecen las series de televisión cínica o utópica? Este libro nace con la pretensión de dar cuenta de las series pertenecientes al drama político y, gracias al análisis de los autores que conforman esta obra, describir la representación de lo político en el imaginario televisivo de ficción c ontemporáneo. Para hacerlo, se ha dado cierta e inevitable primacía a la producción estadounidense (House of Cards, The Good Wife, The Newsroom, Louie, The Kennedys), seguida de la ficción anglosajona y europea (Borgen, The Hour, The Thick of It, The Red Riding Trilogy, Crematorio). Uno de los ejes que trata este monográfico es si la imagen política ofrecida en dichas representaciones audiovisuales es utópica o más bien distópica y cínica. La función de cuarto poder del periodismo en la era de la convergencia mediática y la llamada nueva política es también un tema importante en este volumen.

Cine e ideología no son conceptos mutuamente extraños que se repelan entre sí. El autor nos desvela en este libro algunas de las alianzas que ideología y cine han protagonizado en las últimas dos décadas. Veremos de qué forma pervive el marxismo tras la caída del Muro de Berlín y el tan cacareado “fin de las ideologías”, de qué manera la ideología new age ha impregnado los planteamientos metafísicos de muchas películas y cómo se ha expandido en el séptimo arte la ideología de género. Pero a la vez el autor también repasará como contrapunto lo mejor del cine no ideológico sobre cada uno de esos temas.

Rádio em Portugal e no Brasil: trajetória e cenários

This book explores a hybrid model of broadcasting and takes a close look at public TV broadcasting operating in a market-driven environment. While media and media institutions play an important role in democratic societies, their management is a complex process and has to coordinate the various demands of the public, the owners, advertisers and society. Managing media institutions also has to take into account technological developments, changes in the regulatory framework and social trends. Whereas media performance reflects social developments, their management often represents catching the uncatchable: providing for the public good and offering attractive market products.