Historia de la comunicación

En su siglo largo de existencia, el cine, entendido como el resultado de la combinación entre las películas y sus creadores, espectadores y lugares de visionado, ha cambiado constantemente. Sin embargo, es posible rastrear una sugerente línea de continuidad que lleva desde las incipientes proyecciones de imágenes mudas en movimiento, en teatros de variedades y barracones de feria, de los inicios del siglo XX, hasta la brillante y minúscula pantalla de un smartphone observada hoy, con cascos en los oídos, en un vagón del metro. Muchas son las razones que permiten afirmar que la magia que los diminutos seres de nuestras pequeñas pantallas emanan tiene que ver con lo que el cine ha sido en su tortuoso recorrido. Este libro pretende revisitar, con los ojos y la mente de ahora, algunas de las más llamativas etapas del viaje de las películas por la historia y descubrir algunas de las puertas de entrada a ese gran repositorio global de invenciones visuales, relatos y emociones que es, y siempre ha sido, el cine.

Llengua, poder i comunicació conformen la tríada àuria que determina la supervivència i sostenibilitat de les cultures nacionals en un món global. Aquest volum pretén oferir una aproximació històrica al procés general de normalització del català en l'ecosistema comunicatiu de finals del segle XX i començaments del XXI. La tesi bàsica és que l'accés d'una comunitat com la catalana, requereix disposar d'un espai de comunicació propi. Aquest estudi d'història de la llengua pretén precisar la progressió del català en els mitjans tradicionals i en el nou entorn del ciberespai a partir de la Transició espanyola. Té en compte els diferents àmbits d'interès: l'evolució de la recerca, les polítiques de la llengua, la normalització en els grans mitjans, el nou ecosistema dels new media, els progressos en la definició i adopció del català estàndard, i fa un balanç per al final del període.

Volver sobre un centenar de películas del cine español de la Transición sirve para comprobar el cambio que experimenta la sociedad en pocos años: desde la represión y los tabúes sexuales, el autoritarismo familiar, la idealización de lo extranjero, el machismo, la sospecha frente a lo moderno, la ausencia de debate social… del tardofranquismo a la revisión crítica del pasado histórico, el cuestionamiento de la moral tradicional, las nuevas relaciones de pareja e identidades sexuales o distintas muestras de la pluralidad política, territorial y social. Los documentales y ficciones de denuncia, el cine quinqui y las películas sobre delincuencia juvenil, las comedias sobre nuevos estilos de vida o las nuevas generaciones de cineastas –tanto varones como mujeres– muestran un cine más plural en formatos, géneros, estilos e identidades, un cine que dialoga más con el espectador al compartir su experiencia vital.

El cine español de la Transición presenta como perspectiva medular una mirada a la realidad actual y a la realidad histórica, con la innegable voluntad de servir de testimonio y poner en circulación valores e ideas que se consideran fundantes de la sociedad democrática que se está construyendo en esos años. Al mismo tiempo, este cine promueve nuevos valores en las relaciones personales y familiares presididas por la libertad del individuo y una idea de la sexualidad desprovistas de las prohibiciones de la moral heredada.

Este libro es el resultado de un equipo coordinado por J. L. Sánchez Noriega en el que participan los doctores Pilar Amador Carretero (Universidad Carlos III de Madrid), Bénédicte Brémard (Université du Littoral-Côte d’Opale), Virginia Guarinos Galán (Universidad de Sevilla), Miguel Ángel Huerta Floriano (Universidad P. de Salamanca), Esperanza Yllán Calderón (Universidad Complutense de Madrid), Ernesto Pérez Morán (Universidad Complutense de Madrid) y Pedro Sangro Colón (Universidad P. de Salamanca).

British Television Animation 1997-2110 charts a moment in TV history when UK comic animation graduated from the margins as part of a post-Simpsons broadcast landscape. Millennial shows like Monkey Dust, Bob and Margaret, I am Not an Animal, Modern Toss and Stressed Eric, among many others, not only reflected the changing times but they also ushered in an era of ambition and belief in the potential of British adult animation. Van Norris traces the evolution of television animation and discusses a raft of innovative works that not only raised the profile of British animation but, at the same time, made a valuable but under-assessed contribution to the UK TV comedy landscape at the turn of the century. This is the story of a neglected history, the retrieval of a crucial stage in the development of mainstream animation and a story of missed opportunities, artistic compromises and shifts in attitudes within Millennial Britain.

Hannah Andrews provides a timely and thorough investigation of the changing relationship between television and cinema in Britain since 1991. She explores the process of convergence, in terms of both the intermedial relationship between closely related cultural forms, and the involvement of institutions of television in the British film industry. Rather than view convergence as a byproduct of digitalization, Andrews argues for a longer history of analogue convergence, manifested in, for example, the use of television as an alternative exhibition platform for British cinema, or the broadcast of feature-length filmed television dramas traditionally conceptualized as 'plays' rather than films. Television and British Cinema demonstrates how these processes of convergence have been met with equally strong rhetorical 'divergence', the use of presentational devices or discursive framing to distinguish film from television. The book discusses the role of television institutions in these processes, focusing on a period in which the relationship between film and television in the UK developed into a symbiosis.

A comprehensive history of how the conflicts and balances of power in the Maoist revolutionary campaigns from 1951 to 1979 complicated and diversified the meanings of films, this book offers a discursive study of the development of early PRC cinema. Wang closely investigates how film artists, Communist Party authorities, cultural bureaucrats, critics, and audiences negotiated, competed, and struggled with each other for the power to decide how to use films and how their extensively different, agonistic, and antagonistic power strategies created an ever-changing discursive network of meaning in cinema.

The Internet is at once the most terrifying and most beautifully innovative invention of the twentieth century. Examining both science fiction and realistic dramas, Tucker closely engages with films like The Net, Hackers, and The Matrix trilogy alongside more recent works like Tron: Legacy, The Social Network, The Amazing Spiderman, and Avatar. In combination with film theory and close textual analysis, he balances a historical understanding of the development of the Internet with an explanation of how the technology works in order to explore the ways in which this technology, both as a new medium and as represented in popular film, has shaped contemporary versions of self-identity, memory, and the human body.

British Television Drama provides resources for critical thinking about key aspects of television drama in Britain since 1961, including institutional, textual, cultural, economic and audience-centred modes of study. It presents and contests significant strands of critical work in the field, since the essays by TV professionals reveal their strongly-held views about TV (which often conflict productively with the views of fellow contributors) and the academics offer reasoned and more developed arguments that advance understanding. The new edition includes a revised chapter by acclaimed TV producer Tony Garnett reflecting on his work since Cathy Come Home in the 1960s, new chapters by Phil Redmond, the creator of Brookside and Hollyoaks, and Cameron Roach, Head of Drama Commissioning at Sky TV and former executive producer of Waterloo Road. New academic analyses include work on Downton Abbey, The Sarah Jane Adventures, Ashes to Ashes, adaptations of Persuasion, and the changing production methods on Coronation Street. The book's three sections are framed by new introductory essays by the editors to establish and contextualise the primary concerns and methodologies of each chapter.

Phenomenally popular with contemporary audiences (if not with film critics), film sequels have been a part of Hollywood production practices for almost as long as the feature film.

In this comprehensive history of the Hollywood sequel, Stuart Henderson charts its changing role over the past century. Considering a diverse range of sequels in their industrial, historical and aesthetic contexts – from the silent classic The Son of the Sheik (1926) to the post-apocalyptic science fiction of Beneath the Planet of the Apes (1971) and the animated blockbuster Toy Story 3 (2010) – Henderson's illuminating study foregrounds the key features of and debates surrounding this commercially-dominant yet critically-neglected art form.

Including essays from established and up-and-coming scholars, Cinema, Television and History: New Approaches rethinks, recontextualises and reviews the relationship between cinema, television and history. This volume incorporates a wide range of methods to a variety of topics, welcoming both empirical and theoretical approaches, as well as studies which merge the two. It is a book about how historical events are interpreted and adapted across cinema and television as the basis of a story, as much as it is about the endeavours of the practising historian through the exploration of the archive. Divided into five parts—“New meanings, new methods”, “Re-contextualising cinema and television history”, “Rethinking histories of cinema and television”, “Rethinking history through cinema and television”, and “The impact of new technologies”—the book is knowingly broad and diverse in terms of the case studies featured within it, and the means through which these examples are examined, explored, and utilised in their respective chapters.