Historia de la comunicación

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.

The Formation of Computer Gaming Culture in UK Gaming Magazines, 19811995 describes how games played on computers became computer games. By analysing the first gaming magazines, which were published in Britain in the 1980s, it shows how a culture of reception and appreciation was formed around games produced for home computers and circulated in the hobbyist culture of 'bedroom coding'. A new way of talking about software was developed specifically in connection with games, which assessed them according to the quality of their gameplay. Readers of the magazines, for whom this discourse made sense of their experiences with the new objects, came to recognize themselves as gamers and as a result gaming culture was born. In the years before Nintendo 'revived' gaming and began its transformation into a global entertainment industry, gaming culture was created. The book also shows how the formation of this culture was entwined with changes to the economics and technologies of games production in the 1980s.

Exploring contemporary Chinese literature, film, and television, Yipeng Shen sheds light on the historical significance of nationalism for mass imagination and identification in the less-than-democratic system of China for the past three decades. Analyzing cultural products from a wide range of media, chapters move from the intellectual idealism of the 1981s, through the post-Tiananmen transition, to the national cinema of the 1990s, and finally to the Internet literature of today. Public Discourses of Contemporary China argues that Chinese subjects have, to varying degrees, transformed the state project of modernization into their own through mass aestheticization of the nation.

España pasó de contar con un desvencijado parque de salas a disponer desde mediados de los años noventa de algunos de los mayores complejos cinematográficos del continente, convirtiéndose en el cuarto gran mercado de la exhibición europea. Al fenómeno " multiscreening " no fue ajeno el " boom " de la construcción y del sector inmobiliario, que promovió la edificación de numerosos centros comerciales en la mayor parte de ciudades españolas.
El libro pretende no solamente historiar un período que abarca desde mediados de los años sesen­ta hasta hoy, sino también dar res­puesta a un gran número de cuestiones de sumo interés: desde la evolución de las salas de cine y los cambios en la propiedad; los condicionantes económicos del sec­tor; el retraso en la digitalización de las salas; las barreras que impiden un mayor consumo de cine o la composición de los públicos cinematográficos. Y sin ol­vidar además, la evolución expe­rimentada por el mercado norteamericano y de la Unión Europea.