Historia de la comunicación

Esta obra ofrece una aproximación al desarrollo del medio televisivo desde sus orígenes hasta los primeros años del nuevo milenio. Desde su llegada a nuestras casas, cuando reunía a toda la familia, hasta su fragmentación en las cadenas temáticas y las múltiples pantallas, la televisión nos ofrece un espacio público que nos entretiene, informa e interpreta un importante papel en la construcción de nuestra identidad. Este libro aspira a ser una introducción a la historia de la televisión desde las pioneras cadenas televisivas en Estados Unidos y en Reino Unido hasta las televisiones públicas y privadas en Europa, sin olvidar América Latina, Asia y África. Sus destinatarios son docentes y estudiantes del amplio ámbito de la comunicación, así como un público lector más general interesado por el medio televisivo.

Este dosier propone un análisis cruzado de las categorías de género y edad, al destacar la juventud como elemento relevante en la historia de las mujeres y de género. En él se da cuenta de la influencia tanto de representaciones como de discursos igualitarios y juveniles en ámbitos de movilización y militancia, invitando a reflexionar sobre cómo dicho compromiso reformuló las relaciones entre mujeres y hombres en la época contemporánea.

This book provides the first in-depth exploration of video games as history. Chapman puts forth five basic categories of analysis for understanding historical video games: simulation and epistemology, time, space, narrative, and affordance. Through these methods of analysis he explores what these games uniquely offer as a new form of history and how they produce representations of the past. By taking an inter-disciplinary and accessible approach the book provides a specific and firm first foundation upon which to build further examination of the potential of video games as a historical form.

After 1851, Americans swarmed to take in a raft of new illustrated journals and papers. Engravings and drawings of "buckskinned braves" and "Indian princesses" proved an immensely popular attraction for consumers of publications like Frank Leslie's Illustrated Newspaper and Harper's Weekly . In Indians Illustrated, John M. Coward charts a social and cultural history of Native American illustrations–romantic, violent, racist, peaceful, and otherwise–in the heyday of the American pictorial press. These woodblock engravings and ink drawings placed Native Americans into categories that drew from venerable "good" Indian and "bad" Indian stereotypes already threaded through the culture. Coward's examples show how the genre cemented white ideas about how Indians should look and behave–ideas that diminished Native Americans' cultural values and political influence. His powerful analysis of themes and visual tropes unlocks the racial codes and visual cues that whites used to represent–and marginalize–native cultures already engaged in a twilight struggle against inexorable westward expansion.

In Media in New Turkey, Bilge Yesil unlocks the complexities surrounding and penetrating today's Turkish media. Yesil focuses on a convergence of global and domestic forces that range from the 1981 military coup to globalization's inroads and the recent resurgence of political Islam. Her analysis foregrounds how these and other forces become intertwined, and she uses Turkey's media to unpack the ever-more-complex relationships. Yesil confronts essential questions regarding: A. the role of the state and military in building the structures that shaped Turkey's media system; A. media adaptations to ever-shifting contours of political and economic power; A. how the far-flung economic interests of media conglomerates leave them vulnerable to state pressure; and A. the ways Turkey's politicized judiciary criminalizes certain speech. Drawing on local knowledge and a wealth of Turkish sources, Yesil provides an engrossing look at the fault lines carved by authoritarianism, tradition, neoliberal reform, and globalization within Turkey's increasingly far-reaching media."

Why did Edwardian novelists portray journalists as swashbuckling, truth-seeking super-heroes whereas post-WW2 depictions present the journalist as alienated outsider? Why are contemporary fictional journalists often deranged, murderous or intensely vulnerable? As newspaper journalism faces the double crisis of a lack of trust post-Leveson, and a lack of influence in the fragmented internet age, how do cultural producers view journalists and their role in society today? In The Journalist in British Fiction and Film Sarah Lonsdale traces the ways in which journalists and newspapers have been depicted in fiction, theatre and film from the dawn of the mass popular press to the present day. The book asks first how journalists were represented in various distinct periods of the 21th century and then attempts to explain why these representations vary so widely. This is a history of the British press, told not by historians and sociologists, but by writers and directors as well as journalists themselves. In uncovering dozens of forgotten fictions, Sarah Lonsdale explores the bare-knuckled literary combat conducted by writers contesting the disputed boundaries between literature and journalism. Within these texts and films there is perhaps also a clue as to how the best aspects of 'Fourth estate' journalism can survive in the digital age. Authors covered in the volume include: Martin Amis, Graham Greene, George Orwell, Pat Barker, Evelyn Waugh, Elizabeth Bowen, Arnold Wesker and Rudyard Kipling. Television and films covered include House of Cards (US and UK versions), Defence of the Realm, Secret State and State of Play.

Social media's connectivity is often thought to be a manifestation of human nature buried until now, revealed only through the diverse technologies of the participatory internet. Rather than embrace this view, Inhuman Networks: Social Media and the Archaeology of Connection argues that the human nature revealed by social media imagines network technology and data as models for behavior online. Covering a wide range of historical and interdisciplinary subjects, Grant Bollmer examines the emergence of "the network" as a model for relation in the 1710s and 1800s and follows it through marginal, often forgotten articulations of technology, biology, economics, and the social. From this history, Bollmer examines contemporary controversies surrounding social media, extending out to the influence of network models on issues of critical theory, politics, popular science, and neoliberalism. By moving through the past and present of network media, Inhuman Networks demonstrates how contemporary network culture unintentionally repeats debates over the limits of Western modernity to provide an idealized future where "the human" is interchangeable with abstract, flowing data connected through well-managed, distributed networks.

Aquesta obra és el primer treball històric que analitza amb profunditat el naixement del periodisme a Catalunya. En aquest sentit, retrocedeix fins al segle XV quan s’inicia la difusió de les primeres notícies impreses arreu d’Europa. El fort creixement de la indústria editorial catalana, la segona meitat del XVII, així com l’existència d’un sistema de correu que assegurava la circulació de la informació d’una forma regular i permanent per tot el país, són aspectes cabdals per al desenvolupament de la premsa i de la gènesi de la periodicitat. El moment culminant fou durant el setge de Barcelona de 1713-1714, quan la Generalitat va encarregar la impressió de la gaseta de la resistència, que va suposar, l’adopció d’un model de premsa d’Estat a Catalunya per primera i única vegada. El llibre inclou un apèndix de notícies de la premsa europea, sobre la Guerra de Successió a Catalunya.

This comprehensive historical account demonstrates the rich diversity in 1971s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade.

The Convergence Crisis tells the story of an impending paradigm shift in advertising. Beginning in the early 1841s with the birth of the first advertising agency and momentum spurred by industrial systems, the book provides a historical overview of significant events and socio-cultural economic factors that have occurred to explain how and why a [convergence] crisis has erupted in contemporary American advertising. Significant blurring of once-distinct boundaries and redistribution caused by convergence has led to new methods of communication being used in advertising and among audiences. The book intends to bring awareness, clarity, and understanding to the opportunities presented through convergence via its rich historical narrative and theoretical framework.