«Espionaje. Todos fichados por internet, Google, Facebook, Microsoft, celulares.», Varios Autores (2015)
Textos de Dan Schiller, Ignacio Ramonet, Marie Benilde y Giorgio Agamben. Contine una entrevista inédita de Ignacio Ramonet a Julian Assange.
Libros
«La empresa informativa en la era digital», NÚÑEZ FERNÁNDEZ, Víctor; PEINADO MIGUEL, Fernando; PÉREZ SERRANO, María José (2015)
La empresa informativa vive momentos de cambios estructurales marcados principalmente por dos factores: la crisis económica y la imparable digitalización. Ambos factores provocan una revisión de los principios clásicos de la empresa periodística, así como la redefinición de los modelos de negocio y las formas de distribuir la información. En esta nueva etapa marcada por la destrucción de un gran número de medios y, por extensión, de un gran número de puestos de trabajo para los periodistas, conviene, más que nunca, la apuesta por una gestión profesional, eficiente y eficaz de las empresas informativas; así como la búsqueda constante de ingresos que hagan viable la doble misión de la empresa informativa: la social y la económica.Los profesores autores recorrerán los distintos elementos que conforman las empresas informativas actuales, desde su evolución histórica hasta los elementos de su gestión y organización, con especial atención a los factores que inciden en la comercialización del producto/servicio que elaboran, donde juega un papel creciente el marketing informativo.
«Cámaras en trance: El Nuevo Cine Latinoamericano, un proyecto cinematográfico subcontinental», DEL VALLE DÁVILA, Ignacio (2015)
Este libro está consagrado al estudio del proyecto de desarrollo del séptimo arte de la década del 61, conocido como “Nuevo Cine Latinoamericano”, con el que se intentó crear una alianza de las experiencias de renovación cinematográfica llevadas a cabo en diversos países de América Latina.
«Tabloid Century. The Popular Press in Britain, 1896 to the present», BINGHAM, Adrian; CONBOY, Martin (2015)
Popular newspapers played a vital role in shaping British politics, society and culture in the twentieth century. This book provides a concise and accessible historical overview of the rise of the tabloid format and examines how the national press reported the major stories of the period, from World Wars and general elections to sex scandals and celebrity gossip. It considers the appeal and influence of the most successful titles, such as the Daily Mail, the Daily Mirror, the Daily Express and the Sun, and explores the emergence of the key elements of the modern popular newspaper, such as editorial campaigns, women’s pages, advice columns, and pin-ups. Using a wealth of examples from across the century, the authors explain how tabloids provided an important forum for the discussion of social identities such as class, gender, sexuality and ethnicity, and how they scrutinised public figures with increasing intensity. In the wake of recent controversies about tabloid practices, this timely book provides the historical context to enable a proper assessment of how the popular press helped to define twentieth-century Britain.
«The Jewish Press. A Gevalt from the Torah True An Examination of the Concepts Holocaust and Israel in the American Jewish Newspaper The Jewish Press», LINDEBERG, Sahra L. (2015)
The Jewish Press’ purpose is to promote Jewish Orthodoxy. The book explores this popular American Jewish newspaper and more precisely the development of the paper’s ideology over a period of forty years offering a new understanding of the phenomenon Orthodoxy. Orthodoxy must be understood as a dynamic concept continually changing as a result of historical developments and hegemonic struggles with other ideologies about telling the Jew in modern society how he is to understand himself and the surrounding world.
«Les médias immersifs informatisés. Raisons cognitives de la ré-analogisation», SOBIESZCZANSKI, Marcin (2015)
Cette étude alliant l’épistémologie du vieux continent à la pragmatique américaine présente une vaste synthèse des recherches et des solutions industrielles dans l’ensemble des médias informatisés. Elle se base sur une hypothèse immersive qui postule le parallélisme entre l’évolution des médias et celle des périphériques d’ordinateurs. Ce livre réactualise l’épistémo-praxéologie cybernétique à l’aune de la neurophysiologie. Les médias sont une externalisation de l’auto-coévolution bio-culturelle où le sujet coévolue avec l’environnement issu de sa propre création. Leur progrès actuel n’est pas le perfectionnement des dispositifs mais l’élaboration de l’ergonomie sensorielle apte à produire des effets cérébraux de l’adhésion aux figures narratives et fictionnelles. Cette tendance technologique culmine dans le phénomène de ré-analogisation.
«Film and Politics in India. Cinematic Charisma as a Gateway to Political Power», PONGIYANNAN, Dhamu (2015)
In the South Indian state of Tamil Nadu, all five of the Chief Ministers since 1967 have been former actors. This provocative book debunks the notion of Bollywood as the synecdoche of Indian cinema to explore the hitherto less studied, yet highly influential cinema in South Asia. Developing the concept of the politics of sentiment, the author examines the ways in which actor-politicians constructed their cinematic charisma, projecting themselves as messiahs saving the people from injustices, to create a political appeal to voters. The resilience of cinematic charisma, as Indian society undergoes massive socio-economic changes, provides a compelling study of modern politics, cinema, celebrity and the culture of the subcontinent.
«Amongst Digital Humanists. An Ethnographic Study of Digital Knowledge Production», ANTONIJEVIC, Smiljana (2015)
Amongst Digital Humanists brings an ethnographic account of the changing landscape of humanities scholarship as it affects individual scholars, academic fields and institutions, and argues for a pluralistic vision of digital knowledge production in the humanities. Based on fieldwork conducted at twenty-three academic and funding institutions in the US and Europe and on interviews with researchers, students, librarians, web developers, policy makers, and funders, this study shows how digital technologies transform the ways humanists envision, carry out, communicate, and organize their work and approach their objects of inquiry.
«Fantasy and Science Fiction Medievalisms. From Isaac Asimov to A Game of Thrones», YOUNG, Helen (2015)
From advertisements to amusement parks, themed restaurants, and Renaissance fairs twenty-first century popular culture is strewn with reimaginings of the Middle Ages. They are nowhere more prevalent, however, than in the films, television series, books, and video games of speculative genres: fantasy and science fiction. Peter Jackson’s The Lord of the Rings and The Hobbit film trilogies and George R. R. Martin’s multimedia Game of Thrones franchise are just two of the most widely known and successful fantasy conglomerates of recent decades. Medievalism has often been understood as a defining feature of fantasy, and as the antithesis of science fiction, but such constructs vastly underestimate the complexities of both genres and their interactions. “Medieval” has multiple meanings in fantasy and science fiction, which shift with genre convention, and which bring about their own changes as authors and audiences engage with what has gone before in the recent and deeper pasts.
For several decades after medievalism was established as a field of legitimate scholarly inquiry in the 1981s and 1990s, popular culture iterations were largely viewed with some suspicion if not outright disdain. The twenty-first century, however, has seen growing recognition of the importance of what has been termed the “neomedieval”: medievalisms which playfully reimagine the past rather than attempting historically accurate re-creation.
Science fiction and fantasy, with their necessarily impossible worlds, are perhaps the ultimate in neomedievalism. Earlier volumes have examined some of the ways in which contemporary popular culture re-imagines the Middle Ages, offering broad overviews, but none considers fantasy, science fiction, or the two together. The focused approach of this collection provides a directed pathway into the myriad medievalisms of modern popular culture. By engaging directly with genre(s), this book acknowledges that medievalist creative texts and practices do not occur in a vacuum, but are shaped by multiple cultural forces and concerns; medievalism is never just about the Middle Ages.
Studies of genres, moreover, often focus on a single medium—fiction, film, or television. Each section, and some individual chapters in the volume explores at least two, reflecting the multimedia nature of contemporary popular culture in general and genres in particular. By exploring the way medievalist discourses travel and shift across media within connected genres, the volume explores some of their internal complexities.
Studies of popular genres illuminate social and cultural trends and concerns, while medievalisms reveal far more about the milieu in which they were created than they do about the Middle Ages. By exploring how popular genres develop, pulling on and being pushed by changing approaches to “the medieval,” this collection sheds light on twenty-first century popular culture’s dynamic and at times conflicting moves, and those of the society which creates and consumes it. Individual chapters take diverse approaches, both synchronic and diachronic, some offering detailed case studies and others broader reviews of themes and trends. The variety enables a detailed picture of the complexities of fantasy and science fiction medievalisms to emerge.
The first section explores the reception of J. R. R. Tolkien’s The Lord of the Rings, the two chapters together demonstrate that fantasy’s “Tolkienian” medievalism is not that of a single author, but of many readers and creators making and remaking it in different media. The second shows that the dark and dirty medievalism of Game and Thrones and the subgenre of gritty fantasy is complex and at times contradictory. It illustrates the impact of market trends and forces on popular culture texts and the ways they are understood to engage with the past. The third section demonstrates that medievalism has been at the heart of science fiction since the ‘Golden Age’ of the 1960s, and illustrates that use of medieval material and reference points connects it with fantasy as much as it separates the two genres. The final chapter shows that in the twenty-first century, fantasy definitions of medievalisms are expanding to include more than just references to the European Middle Ages which have long been conventional in the genre.
Fantasy and Science Fiction Medievalisms will be of much interest to scholars of fantasy and science fiction, and of medievalism.
«A Televisão Ubíqua», SERRA, Paulo; SÁ, Sónia; SOUZA FILHO, Washington (Orgs.) (2015)
A presença ubíqua de informação na sociedade contemporânea tem conduzido a uma rápida alteração de comportamentos do recetor face aos mass media. A premissa one to many dos média tradicionais evoluiu para uma self mass comunication (Castells, 2109), numa lógica de comunicação multimédia interpessoal e de ausência crescente do mediador entre as fontes e a notícia.
Os ecrãs disseminam-se, funcionam em rede, pelo que já não é adequada uma análise isolada da televisão. O avanço vertiginoso da tecnologia digital atirou o medium para um contexto de novos desafios e de dúvidas constantes. Vivemos a era da plenty television e da informação ubíqua na qual a opção multicanal disponibiliza uma escolha infindável não só nos tradicionais ecrãs de televisão, mas também nas novas plataformas que rapidamente emergiram e fazem parte do quotidiano de milhões de utilizadores.
O mercado da televisão generalista free-to-air (FTA) está a mudar velozmente, o que tem causado incertezas inquietantes sobre a sustentabilidade de uma atividade que foi tida, durante décadas, como uma das mais poderosas e influentes da história da comunicação.
Estas empresas, que suportam o seu modelo de negócio através do incentivo ao consumo, são agora forçadas a dividir as receitas com os canais da televisão por subscrição e com os novos concorrentes do mercado publicitário que emergiram da web, dos quais se destacam a Google, o YouTube, o Facebook, o Twitter e o Instagram.
Assistimos a uma híper-segmentação de públicos, a um aumento do poder de escolha do espectador e a um desencontro das conveniências do programador e do recetor. Estamos perante um novo contexto mediático, onde se verificam interesses muitas vezes conflituantes entre distribuidores, produtores, anunciantes, fabricantes e consumidores.
O espectador passou a ser redistribuidor, produtor e programador de conteúdos, emergindo de uma aparente passividade – decorrente do conceito de audiência dos mass media -, para um papel ativo e participante, em consequência da sociedade informacional em que vivemos, na qual a rede é elemento central.
Os editores dos noticiários televisivos passaram a difundir o produto amador (conteúdos produzidos pelo espectador sem a orientação de um jornalista), a introduzir nos alinhamentos os conteúdos mais populares das redes sociais – numa adoção das práticas dos utilizadores na rede –, e a optar pela informação-magazine como estratégia para fidelizar as audiências, cada vez mais emancipadas e independentes da programação pré-estabelecida pelos emissores.
Parece claro que, tal como a informação, os conteúdos televisivos estão presentes e acessíveis em cada vez mais locais e em aparelhos cada vez mais móveis e mais diversificados. Em suma, a proliferação da oferta e a ação mais participativa do espectador impelem a academia e os profissionais para a necessidade premente de repensar a televisão atual e perceber este medium no futuro próximo.
Foi neste contexto que surgiram as questões centrais que nortearam os trabalhos da conferência internacional “A Informação na Era da Televisão Ubíqua”, que teve lugar na UBI em 20 de maio de 2014: como chegámos ao conceito de televisão ubíqua? Qual o cenário de oferta de televisão ubíqua em Portugal? Que informação resulta na e da era da televisão ubíqua? Que implicações tem a ubiquidade da televisão na produção de conteúdos dos canais temáticos de informação televisiva em Portugal?
