Journalism in Crisis addresses the concerns of scholars, activists, and journalists committed to Canadian journalism as a democratic institution and as a set of democratic practices. The authors look within Canada and abroad for solutions for balancing the Canadian media ecology.
The present volume fills in a gap in the emerging field of media and health by including micro and macro-level oriented approaches of health and communication, based on multiple methodologies. The authors analyze the media and medicine from different perspectives. Interesting and revealing results emerge, which contribute to the re-evaluation of health communication and health literacy theories. Moreover, even if contributors to this book come from different countries (USA, UK, Poland, France, Australia, Romania) they somehow manage to reach a common language in their studies, offering a re-positioning of the debates on the link between media and medicine. The new perspectives offered are of interest to any health communication or media studies scholar because they bring to light new ideas, new methodologies and results that could be further developed. At the same time, the volume allows readers to explore these unique insights and to easily digest the content and acknowledge the impact of media on health and healthcare.
In the mediated digital era, communication is changing fast and eating up ever greater shares of real-world power. Corporate battles and guerrilla wars are fought on Twitter. Facebook is the new Berlin, home to tinkers, tailors, spies and terrorist recruiters. We recognize the power shift instinctively but, in our attempts to understand it, we keep using conceptual and theoretical models that are not changing fast, that are barely changing at all, that are laid over from the past.
Journalism remains one of the main sites of communication power, an expanded space where citizens, protesters, PR professionals, tech developers and hackers can directly shape the news. Adrienne Russell reports on media power from one of the most vibrant corners of the journalism field, the corner where journalists and activists from countries around the world cross digital streams and end up updating media practices and strategies. Russell demonstrates the way the relationship between digital journalism and digital activism has shaped coverage of the online civil liberties movement, the Occupy movement, and the climate change movement. Journalism as Activism explores the ways everyday meaning and the material realities of media power are tied to the communication tools and platforms we have access to, the architectures of digital space we navigate, and by our ability to master and modify our media environments.
Beyond Blaxploitation, the first book-length anthology of scholarly work on blaxploitation film, sustains the momentum that blaxploitation scholarship has recently gained, giving the films an even more prominent place in cinema history. This volume is made up of eleven essays employing historical and theoretical methodologies in the examination of spectatorship, marketing, melodrama, the transition of novel to screenplay, and racial politics and identity, among other significant topics. In doing so, the book fills a substantial gap that exists in the black cinematic narrative and, more broadly, in film history.
Beyond Blaxploitation is divided into three sections that feature original essays on a variety of canonical blaxploitation films and others that either influenced the movement or in some form represent a significant extension of it. The first section titled, "From Pioneer to Precursor to Blaxploitation," centers on three films—Cotton Comes to Harlem, Watermelon Man, and Sweet Sweetback’s Baadasssss Song—that ignited the African American film cycle. The second section, "The Canon and the Not so Canon," is dedicated to forging alternative considerations of some of the most highly regarded blaxploitation films, while also bringing attention to lesser-known films in the movement. The final section, "Was, Is, or Isn’t Blaxploitation," includes four essays that offer significant insights on films that are generally associated with blaxploitation but contest traditional definitions of the movement. Moreover, this section features chapters that address industrial factors that led to the creation of blaxploitation cinema and highlight the limitations of the term itself.
Beyond Blaxploitation is a much-needed pedagogical tool, informing film scholars, critics, and fans alike, about blaxploitation’s richness and complexity.
In 2101, Jace Clayton was an amateur DJ who recorded a three-turntable, sixty-minute mix calledGold Teeth Thief and put it online to share with his friends. Within months, the mix became an international calling card, whisking Clayton away to a sprawling, multitiered nightclub in Zagreb, a tiny gallery in Osaka, a former brothel in S o Paolo, and the atrium of MoMA. And just as the music world made its fitful, uncertain transition from analog to digital, Clayton found himself on the front lines of an education in the creative upheavals of art production in the twenty-first-century globalized world.Uproot is a guided tour of this newly opened cultural space, mapped with both his own experiences and his relationships with other industry game-changers such as M.I.A. and Pirate Bay. With humor, insight, and expertise, Clayton illuminates the connections between a Congolese hotel band and the indie rock scene, Mexican surfers and Israeli techno, Japanese record collectors and hidden rain-forest treasure, and offers an unparalleled understanding of music in a digital age.Uproot takes readers behind the turntable decks to tell a story that only a DJ–and writer–of this caliber can tell.
Princess Diana, Jackie O, Grace Kelly-the star icon is the most talked about yet least understood persona. The object of adoration, fantasy, and cult obsession, the star icon is a celebrity, yet she is also something more: a dazzling figure at the center of a media pantomime that is at once voyeuristic and zealously guarded. With skill and humor, Daniel Herwitz pokes at the gears of the celebrity-making machine, recruiting a philosopher's interest in the media, an eye for society, and a love of popular culture to divine our yearning for these iconic figures and the role they play in our lives. Herwitz portrays the star icon as caught between transcendence and trauma. An effervescent being living on a distant, exalted planet, the star icon is also a melodramatic heroine desperate to escape her life and the ever-watchful eye of the media. The public buoys her up and then eagerly watches her fall, her collapse providing a satisfying conclusion to a story sensationally told-while leaving the public yearning for a rebirth. Herwitz locates this double life in the opposing tensions of film, television, religion, and consumer culture, offering fresh perspectives on these subjects while ingeniously mapping society's creation (and destruction) of these special aesthetic stars. Herwitz has a soft spot for popular culture yet remains deeply skeptical of public illusion. He worries that the media distances us from even minimal insight into those who are transfigured into star icons. It also blinds us to the shaping of our political present.
While everyone is talking about "big data," the truth is that understanding the "little data" (stock reports, newspaper headlines, weather forecasts, etc.) is what will help you make smarter decisions at work, at home, and in every aspect of your life. The average person consumes approximately 31 gigabytes of data every single day, but has no idea how to interpret it correctly. Everydata explains, through the eyes of an expert economist and statistician, how to correctly interpret all of the small bytes of data we consume in a day. Readers will become effective, skeptical consumers of everyday data. Everydata is filled with countless examples of people misinterpreting data — oftentimes with catastrophic results: Millions of women avoid caffeine during pregnancy because they interpret correlation as causation The initial launch of HealthCare.gov failed in part because key decision-makers couldn't observe all of the data A baby food company was investigated by the Federal Trade Commission for cherry picking data Attorneys faced a $1 billion jury verdict because of outlier data The Space Shuttle Challenger exploded because the engineers were dealing with a limited sample set Hedge fund companies claim they can make smarter predictions — but the market data says otherwise Each chapter of Everydata highlights one commonly misunderstood data concept, using both real-world and hypothetical examples from a wide range of topics, including business, politics, advertising, law, engineering, retail, parenting, and more. Readers will get the answer to the question — "Now what?" — along with concrete ways they can use this information to immediately start making smarter decisions, today and every day.
Digital technologies are a key feature of contemporary education. Schools, colleges and universities operate along high–tech lines, while alternate forms of online education have emerged to challenge the dominance of traditional institutions. According to many experts, the rapid digitization of education over the past ten years has undoubtedly been a good thing .
Is Technology Good For Education? offers a critical counterpoint to this received wisdom, challenging some of the central ways in which digital technology is presumed to be positively affecting education. Instead Neil Selwyn considers what is being lost as digital technologies become ever more integral to education provision and engagement. Crucially, he questions the values, agendas and interests that stand to gain most from the rise of digital education.
This concise, up–to–the–minute analysis concludes by considering alternate approaches that might be capable of rescuing and perhaps revitalizing the ideals of public education, while not denying the possibilities of digital technology altogether.
This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and original interviews, each chapter details the peak period of a city's subcultural activity and assesses the contemporary situation since the post-subcultural period circa 1995 in order to address the impact of globalized culture in the wake of digital and internet technologies. The book aims to challenge existing histories of sub-cultures by looking at less well-known scenes and movements as well as explore DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.
Os movimentos feministas não inventaram somente novas estratégias ou novos léxicos, mas, mais importante, conceberam um novo sujeito social, as mulheres: não apenas como leitoras, consumidoras e espectadoras de objectos culturais, mas também como escritoras, realizadoras e produtoras desses mesmos objectos culturais. O foco no cinema português realizado por mulheres correspondeu, assim, ao estudo de uma dupla invisibilidade: aquela que ultrapassa a consagração de alguns nomes, mas também o antagónico interesse da generalidade do público. Constatando-se que as cineastas portuguesas realizaram apenas 14 por cento das longas-metragens de ficção estreadas comercialmente nas últimas três décadas, defendem-se medidas de discriminação positiva, como a inserção de quotas na cedência de financiamentos e a própria criação de um festival de cinema de mulheres, em Portugal.
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