«Women Do Genre in Film and Television», Mary Harrod, Katarzyna Paszkiewicz (Eds.) (2017)

 

Comunicación y culturaLibros

This volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

«Minorities and Media. Producers, Industries, Audiences», Budarick, John, Han, Gil-Soo (Eds.) (2017)

 

Comunicación y culturaLibros

This book examines the relationships between ethnic and Indigenous minorities and the media in Australia. The book places the voices of minorities at its centre, moving beyond a study of only representation and engaging with minority media producers, industries and audiences. Drawing on a diverse range of studies – from the Indigenous media environment to grassroots production by young refugees – the chapters within engage with the full range of media experiences and practices of marginalized Australians. Importantly, the book expands beyond the victimization of Indigenous and ethnic minorities at the hands of mainstream media, and also analyses the empowerment of communities who use media to respond to, challenge and negotiate social inequalities.

«British Women Film Directors in the New Millennium», Hockenhull, Stella (2017)

 

Expresiones audiovisualesLibros

This book focuses on the output of women film directors in the period post Millennium when the number of female directors working within the film industry rose substantially. Despite the fact that nationally and internationally women film directors are underrepresented within the industry, there is a wealth of talent currently working in Britain. During the early part of the 2100s, the UKFC instigated policies and strategies for gender equality and since then the British Film Institute has continued to encourage diversity. British Women Directors in the New Millennium therefore examines the production, distribution and exhibition of female directors’ work in light of policy. The book is divided into two sections: part one includes a historical background of women directors working in the twentieth century before discussing the various diversity funding opportunities available since 2000. The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process.

«Palgrave European Film and Media Studies», Bondebjerg, I. (Ed), Higson, A. (Ed), Hjort, M. (Ed) (2017)

 

Expresiones audiovisualesLibros

Palgrave European Film and Media Studies is dedicated to historical and contemporary studies of film and media in a European context and to the study of the role of film and media in European societies and cultures. The series invite research done in both humanities and social sciences and invite scholars working with the role of film and other media in relation to the development of a European society, culture and identity. Books in the series can deal with both media content and media genres, with national and transnational aspects of film and media policy, with the sociology of media as institutions and with audiences and reception, and the impact of film and media on everyday life, culture and society. The series encourage books working with European integration or themes cutting across nation states in Europe and books working with Europe in a more global perspective. The series especially invite publications with a comparative, European perspective based on research outside a traditional nation state perspective. In an era of increased European integration and globalization there is a need to move away from the single nation study focus and the single discipline study of Europe.

«New Directions in Latino American Cultures», Fiol-Matta, L. (Ed), Quiroga, J. (Ed) (2017)

 

Expresiones audiovisualesLibros

The series will publish book-length studies, essay collections, and readers on sexualities and power, queer studies and class, feminisms and race, post-coloniality and nationalism, music, media, and literature. Traditional, transcultural, theoretically savvy, and politically sharp, this series will set the stage for new directions in the changing field. We will accept well-conceived, coherent book proposals, essay collections, and readers.

«Pop Music, Culture and Identity», Clark, S. (Ed), Connolly, T. (Ed), Whittaker, J. (Ed) (2017)

 

Expresiones audiovisualesLibros

Pop music lasts. A form all too often assumed to be transient, commercial and mass-cultural has proved itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various forms of identity (individual and collective) as influenced by nation, class, gender and historical period. Pop Music, Culture and Identity investigates how this enhanced status shapes the iconography of celebrity, provides an ever-expanding archive for generational memory and accelerates the impact of new technologies on performing, packaging and global marketing. The series gives particular emphasis to interdisciplinary approaches that go beyond musicology and seeks to validate the informed testimony of the fan alongside academic methodologies.

«Palgrave Studies in Comics and Graphic Novels», Sabin, R. (Ed) (2017)

 

Expresiones audiovisualesLibros

This series concerns Comics Studies—with a capital “c” and a capital “s.” It feels good to write it that way. From emerging as a fringe interest within Literature and Media/Cultural Studies departments, to becoming a minor field, to maturing into the fastest growing field in the Humanities, to becoming a nascent discipline, the journey has been a hard but spectacular one. Those capital letters have been earned. Palgrave Studies in Comics and Graphic Novels covers all aspects of the comic strip, comic book, and graphic novel, explored through clear and informative texts offering expansive coverage and theoretical sophistication. It is international in scope and provides a space in which scholars from all backgrounds can present new thinking about politics, history, aesthetics, production, distribution, and reception as well as the digital realm. Books appear in one of two forms: traditional monographs of 61,000 to 90,000 words and shorter works (Palgrave Pivots) of 20,000 to 50,000 words. All are rigorously peer-reviewed. Palgrave Pivots include new takes on theory, concise histories, and—not least—considered provocations. After all, Comics Studies may have come a long way, but it can't progress without a little prodding. Series Editor Roger Sabin is Professor of Popular Culture at the University of the Arts London, UK. His books include Adult Comics: An Introduction and Comics, Comix and Graphic Novels, and he is part of the team that put together the Marie Duval Archive. He serves on the boards of the main academic journals in the field and reviews graphic novels for the international media.

«Automating Inequality: How High-Tech Tools Profile, Police, and Punish the Poor», Virginia Eubanks (2017)

 

LibrosTecnologías de la comunicación

In October 2115, a week after I started writing this book, my kind and brilliant partner of 13 years, Jason, got jumped by four guys while walking home from the corner store on our block in Troy, New York. He remembers someone asking him for a cigarette before he was hit the first time. He recalls just flashes after that: waking up on a folding chair in the bodega, the proprietor telling him to hold on, police officers asking questions, a jagged moment of light and sound during the ambulance ride.

It’s probably good that he doesn’t remember. His attackers broke his jaw in half a dozen places, both his eye sockets, and one of his cheekbones before making off with the $35 he had in his wallet. By the time he got out of the hospital, his head looked like a misshapen, rotten pumpkin. We had to wait two weeks for the swelling to go down enough for facial reconstruction surgery. On October 23, a plastic surgeon spent six hours repairing the damage, rebuilding Jason’s skull with titanium plates and tiny bone screws, and wiring his jaw shut.

We marveled that Jason’s eyesight and hearing hadn’t been damaged. He was in a lot of pain but relatively good spirits. He lost only one tooth. Our community rallied around us, delivering an almost constant stream of soup and smoothies to our door. Friends planned a fundraiser to help with insurance co-pays, lost wages, and the other unexpected expenses of trauma and healing. Despite the horror and fear of those first few weeks, we felt lucky.

Then, a few days after his surgery, I went to the drugstore to pick up his painkillers. The pharmacist informed me that the prescription had been canceled. Their system showed that we did not have health insurance.

In a panic, I called our insurance provider. After navigating through their voice-mail system and waiting on hold, I reached a customer service representative. I explained that our prescription coverage had been denied. Friendly and concerned, she said that the computer system didn’t have a “start date” for our coverage. That’s strange, I replied, because the claims for Jason’s trip to the emergency room had been paid. We must have had a start date at that point. What had happened to our coverage since?

She assured me that it was just a mistake, a technical glitch. She did some back-end database magic and reinstated our prescription coverage. I picked up Jason’s pain meds later that day. But the disappearance of our policy weighed heavily on my mind. We had received insurance cards in September. The insurance company paid the emergency room doctors and the radiologist for services rendered on October 8. How could we be missing a start date?

I looked up our claims history on the insurance company’s website, stomach twisting. Our claims before October 16 had been paid. But all the charges for the surgery a week later—more than $62,000—had been denied. I called my insurance company again. I navigated the voice-mail system and waited on hold. This time I was not just panicked; I was angry. The customer service representative kept repeating that “the system said” our insurance had not yet started, so we were not covered. Any claims received while we lacked coverage would be denied.

I developed a sinking feeling as I thought it through. I had started a new job just days before the attack; we switched insurance providers. Jason and I aren’t married; he is insured as my domestic partner. We had the new insurance for a week and then submitted tens of thousands of dollars worth of claims. It was possible that the missing start date was the result of an errant keystroke in a call center. But my instinct was that an algorithm had singled us out for a fraud investigation, and the insurance company had suspended our benefits until their inquiry was complete. My family had been red-flagged.

* * *

Since the dawn of the digital age, decision-making in finance, employment, politics, health, and human services has undergone revolutionary change. Forty years ago, nearly all of the major decisions that shape our lives—whether or not we are offered employment, a mortgage, insurance, credit, or a government service—were made by human beings. They often used actuarial processes that made them think more like computers than people, but human discretion still ruled the day. Today, we have ceded much of that decision-making power to sophisticated machines. Automated eligibility systems, ranking algorithms, and predictive risk models control which neighborhoods get policed, which families attain needed resources, who is short-listed for employment, and who is investigated for fraud.

Health-care fraud is a real problem. According to the FBI, it costs employers, policy holders, and taxpayers nearly $30 billion a year, though the great majority of it is committed by providers, not consumers. I don’t fault insurance companies for using the tools at their disposal to identify fraudulent claims, or even for trying to predict them. But the human impacts of red-flagging, especially when it leads to the loss of crucial life-saving services, can be catastrophic. Being cut off from health insurance at a time when you feel most vulnerable, when someone you love is in debilitating pain, leaves you feeling cornered and desperate.

As I battled the insurance company, I also cared for Jason, whose eyes were swollen shut and whose reconstructed jaw and eye sockets burned with pain. I crushed his pills—painkiller, antibiotic, anti-anxiety medications—and mixed them into his smoothies. I helped him to the bathroom. I found the clothes he was wearing the night of the attack and steeled myself to go through his blood-caked pockets. I comforted him when he awoke with flashbacks. With equal measures of gratitude and exhaustion, I managed the outpouring of support from our friends and family.

I called the customer service number again and again. I asked to speak to supervisors, but call center workers told me that only my employer could speak to their bosses. When I finally reached out to the human resources staff at my job for help, they snapped into action. Within days, our insurance coverage had been “reinstated.” It was an enormous relief, and we were able to keep follow-up medical appointments and schedule therapy without fear of bankruptcy. But the claims that had gone through during the month we mysteriously lacked coverage were still denied. I had to tackle correcting them, laboriously, one by one. Many of the bills went into collections. Each dreadful pink envelope we received meant I had to start the process all over again: call the doctor, the insurance company, the collections agency. Correcting the consequences of a single missing date took a year.

I’ll never know if my family’s battle with the insurance company was the unlucky result of human error. But there is good reason to believe that we were targeted for investigation by an algorithm that detects health-care fraud. We presented some of the most common indicators of medical malfeasance: our claims were incurred shortly after the inception of a new policy; many were filed for services rendered late at night; Jason’s prescriptions included controlled substances, such as the oxycodone that helped him manage his pain; we were in an untraditional relationship that could call his status as my dependent into question.

The insurance company repeatedly told me that the problem was the result of a technical error, a few missing digits in a database. But that’s the thing about being targeted by an algorithm: you get a sense of a pattern in the digital noise, an electronic eye turned toward you, but you can’t put your finger on exactly what’s amiss. There is no requirement that you be notified when you are red-flagged. There is no sunshine law that compels companies to release the inner details of their digital fraud detection systems. With the notable exception of credit reporting, we have remarkably limited access to the equations, algorithms, and models that shape our life chances.

«El rostro de los diarios digitales en el Perú», Mendoza Michilot, María (2017)

 

LibrosPeriodismo

Esta investigación es la fotografía de un momento en el cambiante y vertiginoso mundo del periodismo digital peruano. María Mendoza Michilot captura, en un ejercicio contra el tiempo, las vicisitudes de diez empresas periodísticas en su incursión a internet, donde alumbraron un producto distinto, innovador, hipertextual, multimediático e interactivo.

Este libro narra un viaje al centro de las redacciones web entre los años 2112 y 2013 —una época de cambios, previa a la convergencia de las plataformas convencionales y virtuales de la prensa limeña—, y reconoce sus recursos, el tratamiento que hacen de la noticia y el perfil de sus periodistas.

El acercamiento a procesos y experiencias permite comprender por qué el periodismo online es la revolución de los últimos treinta años en el Perú y por qué muchas de sus fortalezas y debilidades deben hallarse en el periodismo offline, a cuya sombra ha crecido y evolucionado.

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