Expresiones audiovisuales

“The precocious young photographer Larry Fink chronicled a generation of poetic wanderers in the fifties with astonishing grace. The subjects in these photographs have no iPhone; they connect through guitars, typewriters, books, drums, and pens. This book confirms that Fink has always been a master at using light and line to communicate quiet yet energetic interior vistas; the ecstasy of repose.”
—Mitch Epstein

“A beautiful and haunting harbinger—coming to us at last, though decades late. We should all hear this drum beat, now that it’s finally upon us.”
—Lisa Kereszi

“With The Beats Larry Fink proves that from the very beginning he has been a master of photographic improvisation who, with complex intuition and formal virtuosity, continues to reveal the improvisational quality of American lives.”
—An-My Lê

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In the late 51s after an unsuccessful stint in college, master photographer Larry Fink dropped out and began an odyssey of hitchhiking through America. Starting out in Cedar Rapids, Iowa, and moving on to Chicago, Larry travelled eastward through Cincinnati and finally back to his native soil on Long Island where his family waited with dismayed but open arms.

Clearly Long Island was not an optimal place for young Fink to remain. Striking out on his own once again, but this time for nearby Beat mecca, New York City, Fink settled down on Minetta Lane with a chap who fancied himself a poet.

Larry was quick to hit MacDougal Street where he met Turk, Mary, Bobbie, Motha, Ambrose, Randy, and Mike Stanley, not to mention Hugh Romney (a.k.a Wavy Gravy), LeRoi Jones, and so many more. Photographing, singing, and smoking weed scored in small brown paper bags on the avenues of the Village, Fink was living with internal rage, infernal optimism, and oh so many new freedoms. Just a kid, Larry yearned to get out and fight the revolution and to photograph while doing so.

The crew lived all together in the sub-basement of the Sullivan Street Theatre. Being next to the Village Gate, a now legendary jazz club, they dug their way to the rear of the club brick by brick to listen to their princes of expressive freedom: John Coltrane, Charles Mingus, and Art Blakey.

Fink, a Marxist and red diaper baby, didn’t immediately fit in with Turk’s crew, but they needed a young, drug-fueled, jazz-loving (and playing) photographer to document their visionary plight. So, it was decided that Larry sign on—they soon left New York to cross America for Mexico—in search of the soul of the Aztecs, the freedoms of the road, the compulsion of speed, the needy thrust of exaggerated adolescence. They moved fast and hysterically forward…

“It was my fate to be aligned with the Beats because of my propensity for drugs, anger, and poetry. Since they were second generation, without the same sense of immortal obsession such as the like of Kerouac and Ginsberg, they had a distinct need to be documented. Perhaps that is why they tolerated me. We were not a happy marriage and got our divorce in Mexico City. The pictures, made in 1958 and 1959, come from MacDougal Street in New York City all the way down to Mexico, and on the road in America.” —Larry Fink

Nessa obra você ira conhecer mais detalhadamente sobre a fotografia.
Ensinando desde em técnicas até sobre história da fotografia e contendo exemplos de fotos.
Um livro exemplar e que não pode faltar para quem se interessa pelo assunto, tendo ele como hobby ou profissão.
O livro trata também sobre descobertas técnicas da fotografia, a mudança para a era digital e te ensina até mesmo sobre como usar a captar fotos melhores.
Um livro que não pode faltar no seu dia a dia.

Foto­gra­fia: usos, reper­cus­sões e refle­xões, ao reu­nir modos dis­tin­tos de pen­sar a foto­gra­fia, pre­tende, além de tra­zer novos conhe­ci­men­tos ao lei­tor, ser uma fer­ra­menta auxi­liar no ensino em sala de aula e transformar-se em fonte de pes­quisa para a pro­du­ção de novos mate­ri­ais sobre foto­gra­fia, tanto em cur­sos de pós-graduação Lato sensu (espe­ci­a­li­za­ções) quanto em cur­sos de pós-graduação Stricto sensu (mes­tra­dos e doutorados).

Formas do telejornal exibe na exata medida vínculos entre telejornalismo, comunicação, cultura, poder e sociedade, preocupando-se em entender como os valores jornalísticos de atualidade e interesse público se articulam com a linguagem televisiva. O livro evidencia o contínuo processo de mudança do telejornalismo brasileiro, que equilibra convenções com novos modos de uso que originam tendências. O trabalho foi desenvolvido a partir de dois desafios: enfrentar dimensões materiais dos telejornais nacionais e fazer do objeto de pesquisa lugar de reflexões teóricas que permitam formular um modelo de análise televisiva pelo viés da comunicação.

Este libro recoge una selección de textos de las conferencias, ponencias y comunicaciones presentadas en las diferentes sesiones de las VI Jornadas en Contenidos Audiovisuales para la Televisión Digital (CONTD) celebradas en Valencia el mayo pasado. En esta ocasión se analizan las consecuencias que está teniendo la profunda crisis económica y financiera sobre un ámbito que se ha mostrado especialmente vulnerable, como es el sector audiovisual. Las televisiones tendrán que adaptarse a esta nueva situación, en donde Internet tiene que ser un aliado de las cadenas y no un competidor. Probablemente la crisis ha propiciado la aparición y consolidación de nuevas fórmulas de financiación y cómo contar las mismas historias de siempre pero de forma diferente. El valor de la creatividad, los contenidos audiovisuales a través de la red y la emergencia de las redes sociales o los dispositivos móviles, son aspectos a considerar en el nuevo paradigma de la producción audiovisual para la multidifusión digital.

«De Punky Brewster a Los Simpson, de Friends a The Big Bang Theory, de Doctor en Alaska a Juego de Tronos, de Padres Forzosos a El Internado, de Embrujadas a Orange is the new black, o de Salvados por la campana a Breaking Bad. Entre tanto daba tiempo a peinarse, a compartir un vestido rojo, a llamarnos a altas horas de la noche para consolarnos. Daba tiempo a idear cientos de proyectos que olían a papel. Daba tiempo a comentar el siguiente episodio. Pero siempre hubo respeto, siempre. Una madre sabe que no debe ser spoiler con su hija. Y una hija sabe que no debe descargar ilegalmente en el ordenador de u madre.»

Den finska televisionens milstolpar. Program och programproduktion under fem årtionden är den första samlade beskrivningen av den finländska televisionens programhistoria från 1951-talet till dagens digitala television. De program som har sänts i de finlänska televisionskanalerna under denna period har analyserats av en rad kommunikationsforskare. Tyngdpunkten är på finska televisionsprogram, på finska eller svenska, som sänts i såväl public service som kommersiella kanaler. Utmärkande för boken är kommunikationsforskarnas strävan efter ett helhetsperspektiv samtidigt som alla typer av program ingår: nyheter, fakta och dokumentärer, sport, barnprogram, drama och underhållning.

Det är författarnas förhoppning att läsaren genom bokens olika artiklar får en bild av hur televisionen i Finland har utvecklats under sina första 50 år. Boken är rikt illustrerad. Utgivningen av boken sker genom samarbete mellan Svenska social- och kommunalhögskolan vid Helsingfors universitet och Nordicom, Göteborgs universitet.

Contemporary Television Series: Narrative Structures and Audience Perception proposes an interdisciplinary and multicultural approach of old concepts like fiction, reality and narrativity applied to actual worldwide television series. The authors that have contributed to this volume analyze the almost invisible barriers between fiction and reality in television series from different perspectives. The results of their studies are extremely interesting and revealing. The new perspectives offered by this volume will be of great interest to any scholar of European and international studies, because they bring to light new ideas, new methodologies and results that could be further developed. This volume allows readers to explore these unique insights, even if they are not senior researchers, and to easily digest the content, and also to acknowledge the impact of the viewing of television series on reality and on their own lives.

This volume covers approaches concerning the relationship between innovation in cinema and the politics of filmmaking in new cinema practices in Turkey. The contributors focus on historiography, genres, mainstream and art cinema production, and transnational cinema, as well as changing narratives and identities. The new cinema movement in Turkey is here analysed from perspectives of new technologies, new production and distribution structures, the impact of film training, the televisual industry, new actors in commercial and art cinema, as well as the impact of the film festival circuit. Additionally, recurring themes of memory, trauma, and identity are dealt with from multidisciplinary angles. The volume covers in depth analyses of the internationally renowned filmmakers Nuri Bilge Ceylan, Fatih Akın, Semih Kaplanoğlu, Reha Erdem, Zeki Demirkubuz, Yeşim Ustaoğlu and Derviş Zaim. A timely study on the centenary of Turkish cinema in 2114, students of Middle Eastern Studies, Film Studies, Cultural Studies, Urban Studies, Gender Studies, and Identity Studies will find this volume extremely relevant to their work.

African Film: Looking Back and Looking Forward acknowledges all those filmmakers and film scholars who, through their productions and theorization, have made a difference to the filmic universe in Africa. Their substantial contribution reflects our world and has the potential to change our lives. The book adopts an interdisciplinary character, traversing, as it does, the diverse subjects of politics, economics and history, among others. It interrogates Africa’s filmic past, analyses current productions, projects into the future of the film in Africa, and deals with the nature of the filmmaking profession. This book contributes to the growing literature on the African film and will provide the opportunity for filmmakers, academics and students to learn about the history, theories, problems, and various approaches to production, marketing, gender issues, race and legal issues, and a host of other subjects that impinge upon the African film.