«Remakes and Remaking. Concepts – Media – Practices», HEINZE, Rüdiger; KRÄMER, Lucia (Eds.) (2015)

 

Expresiones audiovisualesLibros

From »Avatar« to danced versions of »Romeo and Juliet«, from Bollywood films to »Star Wars Uncut«: This book investigates film remakes as well as forms of remaking in other media, such as ballet and internet fan art. The case studies introduce readers to a variety of texts and remaking practices from different cultural spheres. The essays also discuss forms of remaking in relation to neighbouring phenomena like the sequel, prequel and (re-)adaptation. »Remakes and Remaking« thus provides a necessary and topical addition to the recent conceptual scholarship on intermediality, transmediality and adaptation.

«Das Magische des Films», HANS, Arnold (2015)

 

Historia de la comunicaciónLibros

Hans Arnold's 1949 study »the magic of film« is a central document from the early history of German film and media studies. This folklore dissertation originally handed in to Rudolf Kriss analyzes the European cinema of the 1921s and 1930s as a piece of folk culture using a broad material basis under the folklore aspect of magical practices and impacts. An original contribution to the germanophone scientific history of media and film, whose program continues along the lines of Béla Balázs' »The Visible Man« (1924) and Siegfied Kracauer's »From Caligari to Hitler« (1947), becomes accessible once more.

«International Responses to Mass Atrocities in Africa. Responsibility to Protect, Prosecute, and Palliate», MILLS, Kurt (2015)

 

LibrosSociología de la comunicación

This book examines how the international community responds to mass atrocities. It argues that states and other international actors have developed three sets of norms and practices to address such situations. The first is the responsibility to protect, an assertion that when states cannot or will not stop genocide, crimes against humanity, and widespread war crimes in their territory, or are responsible for their commission, the international community has a duty to transgress sovereignty, including through the use of force, to protect civilians and stop the atrocities. Second is the recognition of the responsibility to prosecute those who commit such atrocities, institutionalized in the International Criminal Court, as well as ad hoc tribunals and the exercise of universal jurisdiction. Third is the provision of humanitarian assistance to those affected by violent conflict, identified as the responsibility to palliate since humanitarian assistance can never do more than provide temporary relief for civilians caught in war.

The book analyses how these three responsibilities operate individually and together in four interrelated African case studies – Rwanda, Democratic Republic of Congo, Uganda and Darfur. A core argument is that while these responsibilities have all arisen in the context of an ongoing global revolution in the protection of human rights, they do not always mutually support each other. Indeed, policymakers and practitioners face multiple conundrums when implementing one or more of these responses. Further, while norms have been accepted, there is frequently little will or capacity on the part of states and intergovernmental organizations to engage in appropriate action to protect civilians. The book uniquely examines atrocity response from multiple perspectives simultaneously, and will be of interest to international policymakers and those who are practically involved in stopping atrocities and protecting civilians in the midst of violent conflict, as well as all who are concerned about protecting people in conflict.

«ReClaiming Participation. Technology – Mediation – Collectivity», DENECKE, Mathias; GANZERT, Anne; OTTO, Isabell; STOCK, Robert (Eds.) (2015)

 

LibrosSociología de la comunicación

This volume unravels the debates on the »Participation Age«: Instead of perpetuating visions of social »all-inclusion« or the »digital divide«, the collection reclaims collectivity as an effect of technological and historical conditions. Thinking of participation both as promise and duty, the contributions analyse the attractions and impositions connected to the socio-technical formation of collectivities. The constraints of participation are addressed by focusing on the mutual shaping of user practices and technological environments. It is hence a relational thinking that allows specifying the manifold interconnections of technology, practices and discourses.

«Political Parties in the Digital Age. The Impact of New Technologies in Politics», LACHAPELLE, Guy; MAAREK, Philippe J. (Eds.) (2015)

 

LibrosTecnologías de la comunicación

The Internet and "social media" may initially have been understood as just one more instrument politicians could employ to manage without political parties. However, these media cannot be reduced to being a tool available solely to politicians. The electronic media make reinforcement of the "glocalization" of the public and political sphere, a process already set in motion with the advent of television, and they can develop the trend even further.

Political parties are therefore once again becoming indispensable; they are in an unparalleled position to recreate social and political bonds, for only they stand both at the center and on the periphery of the new sphere encompassing public and political life.

«Hip-hop, cultura y participación. La visibilidad de la juventud de las periferias urbanas», MARTINS, Rosana (Ed.) (2015)

 

LibrosSociología de la comunicación

La cultura hip-hop surgió en los guetos de Nueva York (Estados Unidos) en la década de 1971. Se trata de un producto colectivo, que abarca diferentes manifestaciones artísticas, música (rap y DJs), artes visuales (grafiti) y baile (break). Pero hay otro elemento más en juego, el compromiso político. Con fuerte influencia de los movimientos negros de la década de 1960 y de la cultura de la calle, el Hip-Hop es la síntesis radical de una producción cultural de base africana que propone nuevos análisis de la realidad a través de la denuncia del racismo. Las enormes desigualdades sociales y la discriminación sufrida por los individuos (por el color de su piel, la apariencia física, la forma de vestirse, el lugar de residencia…), mayor en el caso de las mujeres, son cuestiones abordadas por los jóvenes de las periferias urbanas a través del Hip-Hop.

«Words in Action. Forms and techniques of film dialogue», BRAGA, Paolo (2015)

 

Expresiones audiovisualesLibros

Words in Action dedicates to the subject of film dialogue a comprehensive exploration. The book analyzes a wide series of examples, perfectly chosen in contemporary American mainstream cinema – from Gladiator to The Devil Wears Prada, from Schindler’s List to A Beautiful Mind, from Collateral to The Dark Knight – and, in some cases, also in prime time TV drama – ER, The West Wing, House M.D., John Adams.
In a screenplay, the secrets of well written dialogue are hidden in the construction of the scene, where every word should stem from the theme of the story. At the light of this basic assumption, the book explores how Hollywood screenwriters create verbal duels assigning characters different frames of values and making the hero win by «reframing» what is at stake in the scene. The author elaborates on how Oscar winner authors such as Paul Haggis, Aaron Sorkin and Steven Zaillian create subtext. Finally, the book highlights the screenwriting techniques to cover exposition, an issue which gives the author also the opportunity to concentrate on the differences between dialogues in movies and in TV drama.

«Historia Mundial De La Comunicación», PERCEVAL, José María (2015)

 

Historia de la comunicaciónLibros

La comunicación hizo a la humanidad. Su historia es el relato de todo aquello que nos unió y nos hace sentirnos en comunidad, de los retos a los que hemos debido en­frentarnos, de los grandes relatos que nos hemos contado y de las grandes ilusiones que han fundamentado y fundamentan nuestras sociedades. La " Historia mundial de la comunicación " descubre cómo las sociedades se han construido y desarrollado gracias a la cooperación, el intercambio y el préstamo cultural. Con diferentes soportes y medios, los humanos han avanzado en una comunicación cada vez más inmediata, rica y a mayor distancia permitiendo unas sociedades cada vez más complejas, mestizas e interculturales. Pero, al mismo tiempo, nos descubre los peligros que afectan a todas estas sociedades por la intervención de individuos y grupos que manipulan la información, que enfrentan las sociedades entre sí, para gestionar ellos la violencia en su beneficio.

«Information Technology Ethics. Concepts and Practices in the Digital World», KEFI, Hajer (Ed.) (2015)

 

LibrosSociología de la comunicación

This book focuses on how human interactions with technology and information systems could have important ethical implications for both businesses and society at large. By debating issues such as a law for robots, digital healthcare, and codes of conduct in the educational sector, this volume provides provocative insights which challenge students, scholars and anyone concerned with information in society to think critically and draw their own conclusions. Throughout the chapters brought together here, the authors offer relevant theoretical and empirical contributions, which relate to a variety of academic fields, including philosophy, law and management sciences. The subjects covered in the book will also appeal to a large audience from the human, social and economic sciences.

«Video Art. Historicized Traditions and Negotiations», HEDLIN HAYDEN, Malin (2015)

 

Expresiones audiovisualesLibros

Video art emerged as an art form that from the 1961s and onwards challenged the concept of art – hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures – manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art history’s most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices.

By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.

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