Historia de la comunicación

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.

Esta concisa historia del cine, proporciona una perspectiva general y accesible sobre los principales movimientos, directores, estudios y géneros cinematográficos desde 1881 hasta nuestros días. Además, las más de 250 extraordinarias fotogramas y fotografías que acompañan al texto familiarizan al lector con los personajes y las películas clave de la industria del cine.

This trans-historical essay collection explores spectacular analogue performance technologies from Ancient Greece to before the Second World War in a study that is the first of its kind. From Heron of Alexandria's mechanical theatres to the fin de siècle théâtre phone, from ancient mechanical elephants to early modern automata, from Enlightenment electrical experiments to Victorian spectral illusions, this volume offers an original examination of the precursors of contemporary digital performance. Featuring essays by contributors including Johannes Birringer, Odai Johnson, Kate Newey and Richard Beacham amongst others, the volume is the first book to offer key insights on analogue precursors to contemporary digital performance.

La televisión en España arrancó sus emisiones en 1956, pero Andalucía no se incorporó a la recepción de TVE hasta octubre de 1961, gracias a un repetidor instalado en Guadalcanal (Sevilla). Este libro reconstruye los primeros pasos de la historia televisiva en Andalucía a través de la presencia que el nuevo medio obtuvo en los periódicos de la región. La televisión fue objeto de múltiples noticias, comentarios, viñetas o anuncios; de las primeras críticas sobre sus programas y hasta de campañas para dotar de receptores a los más necesitados. Esta brillante imagen pública del moderno medio de comunicación contrastaba con una sociedad agraria tradicional, marcada por las desigualdades y la falta de libertades. Los periódicos dejaron entrever, pese a todo, algunas contradicciones surgidas de la irrupción televisiva.

Como afirma en el prólogo Toby Miller, “El encendido analógico examina los orígenes e impacto de la llegada televisiva a una región crucial de España, Andalucía, en el contexto del control centralizado de la vida cotidiana y de la infraestructura de poder desplegado por la dictadura. Con un claro énfasis en lo local, pero entendido como objeto de análisis dentro de una perspectiva nacional y transnacional”.

En los últimos 21 o 30 años, las sociedades capitalistas atravesaron profundas transformaciones económicas, políticas y culturales; que pusieron en crisis los paradigmas explicativos "clásicos" de las ciencias sociales, inclusive el de las ciencias de la comunicación. La crítica alcanzó a conceptos como los de "clase" o "Estado", este último fundamental para comprender la eficacia en la implementación de las políticas públicas, entre las que se incluyen las políticas de la comunicación. A tales fines, es que en este libro se analizan tanto las nuevas características que presentaría este "nuevo" capitalismo informacional presente en las primeras décadas del siglo XXI en América Latina como así las diferentes políticas públicas de comunicación de masas tendientes a promover un avance en los procesos de democratización de la comunicación en nuestro continente.