Historia de la comunicación

"Mining comics and cartoons as historical sources, this is an innovative, theoretically sophisticated study that crosses national and geographical boundaries. It makes a pioneering contribution to print, labour, gender and new cultural history, and the expanding field of humour studies, through a captivating series of case studies from both World Wars." – Bridget Griffen-Foley, Macquarie University, Australia "This study's focus on homefront and front-line comics from the two world wars brings welcome attention to texts generally ignored by scholars of history and comic art alike. Its argument for the significance of these largely overlooked comics as valuable source material opens the doors for further studies in these two fields and beyond." – Gene Kannenberg, Jr., Northwestern University, USA "This book establishes the significance of comics as a cultural record, with lesser-known and forgotten titles giving important insights into everyday lives and mentalities across the English-speaking world in times of war. Comics are an exciting addition to the repertoire of sources that inform commemorative activities in the 21st century as well as historical studies of the period." – Sarah Lloyd, Director of Everyday Lives in War, an AHRC-funded First World War Engagement Centre, UK "I found particular value in the close readings of comics of William Haselden, more obscure artists from the left wing press in America and Australia, and soldier artists from the trench papers. The authors tackle issues of gender representation and certainly Kathleen O'Brien's 'Wanda the War Girl' comic warrants closer attention." – Ian Gordon, National University of Singapore, Singapore

This much-expanded and updated second edition of New Media, Old Media brings together original and classic essays that explore the tensions of old and new in digital culture. Touching on topics including media archaeology, archives, software studies, surveillance, big data, social media, organized networks, digital art, and the Internet of Things, this newly revised critical anthology is essential reading for anyone studying the cultural impact of new and digital media.

Los primeros rastros del humor gráfico en esta zona del Río de la Plata se remontan a los tiempos de la Colonia, aún antes de que se declarara la independencia de la Argentina. Desde entonces, las caricaturas, las viñetas y las tiras cómicas acompañaron el devenir de la Nación. Por momentos lo hicieron con un tinte marcadamente político y de a ratos con rasgos costumbristas. Exportadora del talento de guionistas y de historietas, la Argentina forjó una escuela reconocible en el mundo a la vez que encontró en la creatividad de sus artistas el modo de salir culturalmente a flote de sus cíclicas crisis. En los momentos de oscuridad catacumbas el humor gráfico devino también en trinchera de resistencia.

La constitución de una política y reforma de los GTs, el despliegue de las representaciones regionales, la priorización del tema del "pensamiento crítico" en los Congresos de Bogotá, Montevideo y Lima, la promoción de los seminarios regionales (destinados a aumentar el diálogo y la acción conjunta con las asociaciones nacionales de investigadores, cuyo número ha crecido mucho en el período), los seminarios de Säo Pablo y La Paz, la nueva política de publicaciones, la reestructuración del portal de ALAIC, el sostenimiento de su revista papel y divulgación on line y la creación de una nueva publicación (el Journal of Latin American Communication Research), así como la búsqueda de acciones coordinadas con otras asociaciones macro-regionales de todo el mundo, han caracterizado esta gestión. Este libro es parte de ese esfuerzo. Para su concreción fueron invitados ex-coordinadores de GTs que estuvieron un largo período al frente de los grupos y otros actuales, así como algunos colegas a los que ellos dieron participación. Todos especialistas destacados en sus sub-áreas de conocimiento y con una experiencia acumulada de privilegio para poder reflejar la historia y la situación actual de cada uno de ellos.

This book presents an historical account of media and catastrophe that engages with theories of biopolitics in the work of Michel Foucault, Giorgio Agamben, Michael Hardt, Antonio Negri and others. It explains how responses to catastrophe in media and cultural criticism over the past 151 years are embedded in biological conceptions of life and death, contamination and immunity, race and species. Mediated catastrophe is often understood today in terms of collective memory and according to therapeutic or redemptive accounts of trauma. In contrast to these approaches this book emphasizes the use of media to record, archive and analyze physical appearance and movement; to capture viewer attention through shock; to monitor and control bodies in economies of production and consumption; to enmesh social relations in information networks; and situate subjects in discourses of victimhood, immunity, survival and resilience. Chapters are focused on historical case studies of early photography, Nazi propaganda, colonial stereotypes, Hiroshima, the Holocaust, the Cold War and the war on terror.

Revolutions in Communication offers a new approach to media history, presenting an encyclopedic look at the way technological change has linked social and ideological communities. Using key figures in history to benchmark the chronology of technical innovation, Kovarik's exhaustive scholarship narrates the story of revolutions in printing, electronic communication and digital information, while drawing parallels between the past and present. Updated to reflect new research that has surfaced these past few years, Revolutions in Communication continues to provide students and teachers with the most readable history of communications, while including enough international perspective to get the most accurate sense of the field. The supplemental reading materials on the companion website include slideshows, podcasts and video demonstration plans in order to facilitate further reading.

This book explains how designing, playing and modifying computer games, and understanding the theory behind them, can strengthen the area of digital humanities. This book aims to help digital humanities scholars understand both the issues and also advantages of game design, as well as encouraging them to extend the field of computer game studies, particularly in their teaching and research in the field of virtual heritage.

By looking at re-occurring issues in the design, playtesting and interface of serious games and game-based learning for cultural heritage and interactive history, this book highlights the importance of visualisation and self-learning in game studies and how this can intersect with digital humanities. It also asks whether such theoretical concepts can be applied to practical learning situations. It will be of particular interest to those who wish to investigate how games and virtual environments can be used in teaching and research to critique issues and topics in the humanities, particularly in virtual heritage and interactive history.

By the turn of the 21st century, animation production has grown to thousands of hours a year in the People’s Republic of China (PRC). Despite this, and unlike American blockbuster productions and the diverse genres of Japanese anime, much animation from the PRC remains relatively unknown.

This book is an historical and theoretical study of animation in the PRC. Although the Wan Brothers produced the first feature length animated film in 1941, the industry as we know it today truly began in the 1951s at the Shanghai Animation Film Studio (SAFS), which remained the sole animation studio until the 1980s. Considering animation in China as a convergence of the institutions of education, fine arts, literature, popular culture, and film, the book takes comparative approaches that link SAFS animation to contemporary cultural production including American and Japanese animation, Pop Art, and mass media theory. Through readings of classic films such as Princess Iron Fan, Uproar in Heaven, Princess Peacock, and Nezha Conquers the Dragon King, this study represents a revisionist history of animation in the PRC as a form of "postmodernism with Chinese characteristics."

As a theoretical exploration of animation in the People’s Republic of China, this book will appeal greatly to students and scholars of animation, film studies, Chinese studies, cultural studies, political and cultural theory.

Aquest volum reuneix deu treballs sobre la història de la premsa escrita a Mallorca en el segle XX que l’historiador Arnau Company va publicar entre 1994 i 2110. En conjunt, Company ofereix un panorama de l’evolució de la premsa mallorquina al llarg del segle XX.

Ordenats cronològicament, hi ha treballs sobre etapes concretes, com la premsa diària en el pas de segle XIX al XX; la primera etapa de la Premsa Forana, encetada amb l’aparició, el juliol de 1883, del setmanari El Felanigense fins a la ruptura que va suposar el començament de la Guerra Civil; l’activitat periodística en els anys vint del segle XX; la premsa diària a les acaballes del franquisme, i la premsa escrita des del 1983 fins al 2008. Hi ha estudis monogràfics sobre publicacions periòdiques, com la revista cultural Documenta (1941-48) o la revista Cort durant la Transició Democràtica.

També hi ha treballs sobre el món del periodisme, com la síntesi sobre els periodistes illencs que varen treballar en la premsa diària barcelonina entre 1900 i 1936 o els primers passos de l’associacionisme en aquest àmbit, i un estudi sobre la recepció del cop d’Estat de Primo de Rivera, la proclamació de la Segona República i l’aixecament militar del 19 de juliol de 1936 en la premsa diària i la ràdio mallorquines.

A History of the International Movement of Journalists reviews how journalism evolved as a profession since the late nineteenth century and how journalists became internationally organized over the past one hundred and twenty years. The story begins in Antwerp in 1894 at the first conference of 'press people', leading to the foundation of the International Union of Press Associations which began to meet annually in different European countries. After World War I the Press Congress of the World was established in the United States. These were preludes to the first trade union oriented association of professional journalists, the Fédération Internationale des Journalistes, founded in 1926 with the support of International Labour Organization. It was followed after World War II in 1946 by the International Organization of Journalists in Copenhagen, only to be torn apart by the Cold War, which in 1952 gave rise to the International Federation of Journalists. Each of these associations had difficulties in navigating between professionalism and the politics of their time. This vital part of media history has never before been presented in full.