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Books on the topic 'Digital genres'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Luzón, María José. Digital genres, new literacies and autonomy in language learning. Newcastle upon Tyne: Cambridge Scholars, 2010.

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2

1962-, Alter Nora M., ed. Using new media technologies to transform German film: A study in the proliferation of communication genres. Lewiston: The Edwin Mellen Press, 2012.

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3

Robert, Guérin, ed. Nuendo power! Boston: Thomson Course Technology, c2004., 2004.

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4

Collins, Mike. Pro Tools for music production: Recording, editing and mixing. 2nd ed. Oxford: Focal, 2004.

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5

Leung, Wing-Fai. Digital Entrepreneurship, Gender and Intersectionality. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97523-8.

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6

Kanai, Akane. Gender and Relatability in Digital Culture. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-91515-9.

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7

Farris, D. Nicole, D'Lane R. Compton, and Andrea P. Herrera, eds. Gender, Sexuality and Race in the Digital Age. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-29855-5.

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8

NG, Cecilia, and Swasti Mitter. Gender and the Digital Economy: Perspectives from the Developing World. B-42, Panchsheel Enclave, New Delhi 110 017 India: SAGE Publications India Pvt Ltd, 2005. http://dx.doi.org/10.4135/9788132103622.

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9

McGurren, Julie Elizabeth. Gender considerations and influence in the digital media and gaming industry. Hershey: Information Science Reference, 2014.

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10

Culley, Lorraine. Gender differences and computing in secondary schools. Loughborough: Department of Education, Loughborough University of Technology, 1986.

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11

Inequity in the technopolis: Race, class, gender, and the digital divide in Austin. Austin: University of Texas Press, 2012.

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12

Rommes, Els. Gender scripts and the internet: The design and use of Amsterdam's digital city. Enschede: Twente University Press, 2002.

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13

Weide, Th van der, and Rekha Pande. Globalization, technology diffusion and gender disparity: Social impacts of ICTs. Hershey, PA: Information Science Reference, 2012.

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14

United Nations. Economic Commission for Africa. Handbook on gender, ICT policy, and e-government in Africa. Addis Ababa, Ethiopia: Economic Commission for Africa, 2010.

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15

Frankel, Justin. MP3 Power: With Winamp. Cincinnati: Muska & Lipman Publishing, 1999.

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16

Lamerichs, Nicolle. Productive Fandom. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789089649386.

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To dismantle negative stereotypes of fans, this book offers a media ethnography of the digital culture, conventions, and urban spaces associated with fandoms, arguing that fandom is an area of productive, creative, and subversive value. By examining the fandoms of Sherlock, Glee, Firefly, and other popular television-based franchises, the author appeals to fans and scholars alike in her empirically grounded methodology and insightful analysis of production hierarchies, gender, sexuality, play, and affect.
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17

Doorn, Niels van. Digital spaces, material traces: Investigating the performance of gender, sexuality, and embodiment on internet platforms that feature user-generated content. [S.l]: [s.n.], 2009.

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18

José Luzón, María, and Carmen Pérez-Llantada. Digital Genres in Academic Knowledge Production and Communication. Multilingual Matters, 2022. http://dx.doi.org/10.21832/9781788924726.

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19

Crafting Digital Writing: Composing Texts Across Media and Genres. Heinemann, 2013.

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20

Transnational Korean Cinema: Cultural Politics, Film Genres, and Digital Technologies. Rutgers University Press, 2019.

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21

Jin, Dal Yong. Transnational Korean Cinema: Cultural Politics, Film Genres, and Digital Technologies. Rutgers University Press, 2019.

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22

Social Media Social Genres Making Sense Of The Ordinary. Taylor & Francis Ltd, 2013.

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23

Visual Digital Culture: Surface Play and Spectacle in New Media Genres (Sussex Studies in Culture and Communication). Routledge, 2000.

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24

Visual Digital Culture: Surface Play and Spectacle in New Media Genres (Sussex Studies in Culture and Communication). Routledge, 2000.

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25

Darley, Andrew. Cultura Visual Digital / Visual Digital Culture: Espectaculo Y Nuevos Generos En Los Medios De Comunicacion / Surface play and spectacle in new media genres (Paidos Comunicacion / Communication). Ediciones Paidos Iberica, 2000.

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26

E-music: Finding, playing, recording, and organizing digital music. Indianapolis, Ind: Sams, 2000.

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27

Wall, Cheryl A. On Freedom and the Will to Adorn. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469646909.001.0001.

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Although they have written in various genres, African American writers as notable and diverse as W. E. B. Du Bois, James Baldwin, and Alice Walker have done their most influential work in the essay form. The Souls of Black Folk, The Fire Next Time, and In Search of Our Mothers' Gardens are landmarks in African American literary history. Many other writers, such as Ralph Ellison, Zora Neale Hurston, James Weldon Johnson, and Richard Wright, are acclaimed essayists but achieved greater fame for their work in other genres; their essay work is often overlooked or studied only in the contexts of their better-known works. Here Cheryl A. Wall offers the first sustained study of the African American essay as a distinct literary genre. Beginning with the sermons, orations, and writing of nineteenth-century men and women like Frederick Douglass who laid the foundation for the African American essay, Wall examines the genre's evolution through the Harlem Renaissance. She then turns her attention to four writers she regards as among the most influential essayists of the twentieth century: Baldwin, Ellison, June Jordan, and Alice Walker. She closes the book with a discussion of the status of the essay in the twenty-first century as it shifts its medium from print to digital in the hands of writers like Ta-Nehisi Coates and Brittney Cooper. Wall's beautifully written and insightful book is nothing less than a redefinition of how we understand the genres of African American literature.
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28

Pro Tools for Music Production: Recording, Editing and Mixing. 2nd ed. Focal Press, 2004.

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29

Jin, Dal Yong. Global Penetration of Korea’s Smartphones in the Social Media Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0008.

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This chapter analyzes several distinctive elements of the digital Korean Wave with the case of smartphones, compared to the mobile era until 2008. Here, the digital Korean Wave refers to the rapid growth of digital technologies, in particular smartphones, and the export of domestic-made smartphones to the global markets as part of the growth of the New Korean Wave. However, the digital wave also means the convergence of technology and culture in order to boost the rapid penetration of cultural genres, such as animation and K-pop in the global markets. It is connected to the significance of several services, in particular intellectual property rights, which are crucial for capital accumulation. The chapter starts with an examination of the Korean IT policy, which drives the growth of smartphones, in tandem with corporate policies. Through the lens of technological hybridization, it discusses whether the global penetration of Korean smartphones resolves the uneven power logic between Western, in this case the United States, and non-Western, meaning Korea, in the social media era.
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30

Lund, Cornelia. Sculpting Image and Sound. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.40.

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Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.
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31

Karatzogianni, Athina, and Adrija Dey. Nirbhaya, New Media and Digital Gender Activism. Emerald Publishing Limited, 2018.

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32

Karatzogianni, Athina, and Adrija Dey. Nirbhaya, New Media and Digital Gender Activism. Emerald Publishing Limited, 2018.

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33

Cooper, Joel, and Kimberlee D. Weaver. Gender and Computers: Understanding the Digital Divide. Lawrence Erlbaum, 2003.

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34

Cooper, Joel, and Kimberlee D. Weaver. Gender and Computers: Understanding the Digital Divide. Lawrence Erlbaum Associates, 2003.

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35

Nirbhaya, New Media and Digital Gender Activism. Emerald Publishing Limited, 1998.

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36

Gender and Computers: Understanding the Digital Divide. Lawrence Erlbaum, 2003.

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37

Spiers, Emily. Pop-Feminist Narratives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820871.001.0001.

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Emily Spiers explores the recent phenomenon of ‘pop-feminism’ and pop-feminist writing across North America, Britain, and Germany. Pop-feminism is characterized by its engagement with popular culture and consumerism; its preoccupation with sexuality and transgression in relation to female agency; and its thematization of intergenerational feminist discord, portrayed either as a damaging discursive construct or as a verifiable phenomenon requiring remediation. Central to this study is the question of theorizing the female subject in a postfeminist neoliberal climate and the role played by genre and narrative in the articulation of contemporary pop-feminist politics. The heightened visibility of mainstream feminist discourse and feminist activism in recent years—especially in North America, Britain, and Germany – means that the time is ripe for a coherent comparative scholarly study of pop-feminism as a transnational phenomenon. Pop-Feminist Narratives constitutes the first attempt to provide such an account of pop-feminism in a manner which takes into account the varied and complex narrative strategies employed in the telling of pop-feminist stories across multiple genres and platforms, including literary fiction, the popular ‘guide’ to feminism, film, music, and the digital.
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38

Brock, Alexander, Jana Pflaeging, and Peter Schildhauer. Genre Emergence: Developments in Print, TV and Digital Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2019.

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39

Brock, Alexander, Jana Pflaeging, and Peter Schildhauer. Genre Emergence: Developments in Print, TV and Digital Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2019.

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40

Brock, Alexander, Jana Pflaeging, and Peter Schildhauer. Genre Emergence: Developments in Print, TV and Digital Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2019.

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41

Genre Emergence: Developments in Print, TV and Digital Media. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2019.

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42

Théberge, Paul. The Sound of Nowhere. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0015.

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This chapter traces the development of reverb in music production. Reverberation implicates acoustic space with musical and social places; thus, genres can come to be associated with different locations (e.g., Gregorian chant with cathedrals, orchestras with large concert halls). Sound recordings relocate music to other locales, however, superimposing the reverberant characteristics of one space upon another. Since the 1930s, audio-recording engineers increasingly disengaged recorded sounds from their acoustic environments and replaced them with artificial reverb: through the use of chambers, plates and digital devices, popular recording practices create a complex, multilayered musical space. The chapter traces these developments and links them to contemporary listening practices associated with headphone use, arguing that reverb serves to create an imaginary sonic space for the mobile listener.
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43

Farris, D. Nicole, D'Lane R. Compton, and Andrea P. Herrera. Gender, Sexuality and Race in the Digital Age. Springer, 2020.

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44

Nabalón, Iván, Diego Herrera, and Sonia Vadillo. Onboarding digital. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003605.

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Este documento describe los retos para la apertura remota de cuentas que impiden el acceso a servicios financieros digitales, y recomendaciones para superarlos. El proceso de digitalización de los servicios financieros se ha consolidado inesperadamente con la evolución de la pandemia global provocada por el Covid-19. Los cambios en las preferencias de los consumidores, la emergencia de plataformas Fintech, la adopción de tecnologías por parte de instituciones financieras tradicionales, entre otros factores, han llevado al sector financiero a ofrecer más servicios y productos digitales. Pese a esta rápida evolución, la inclusión financiera digital no se ha aumentado tanto como se hubiera supuesto por las dificultades con el “onboarding” digital, definido como el proceso electrónico que permite la identificación de un consumidor financiero frente a una institución financiera y cuyo resultado genera una confianza equivalente a un proceso presencial. Para que sea efectivo, requiere de una confianza equivalente a la que ofrecen los canales presenciales. Es decir, a la identificación realizada históricamente por parte de las instituciones financieras en las oficinas comerciales. Este texto identifica los retos para poder llevar a cabo el proceso, incluyendo aquellos relacionados con la identidad digital, los procesos para la prevención del lavado de activos y financiación del terrorismo, las tecnologías existentes, entre otros. También ofrece alternativas para la puesta en marcha de procesos de onboarding digital, y ofrece recomendaciones a reguladores y hacedores de política en la región.
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45

TIC, Réseau genre et, ed. Fracture numérique de genre en Afrique francophone: Une inquiétante réalité. Dakar: Enda éditions, 2005.

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46

Gender, Age, and Digital Games in the Domestic Context. Taylor & Francis Group, 2015.

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47

Leung, Wing-Fai. Digital Entrepreneurship, Gender and Intersectionality: An East Asian Perspective. Palgrave Macmillan, 2018.

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48

Gender and Digital Culture: Between Irreconcilability and the Datalogical. Taylor & Francis Group, 2018.

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49

Harvey, Alison, and Celia Pearce. Gender Age, and Digital Games in the Domestic Context. Taylor & Francis Group, 2018.

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50

Arora, Rashmi U. Gender Bias and Digital Financial Services in South Asia. Emerald Publishing Limited, 2020. http://dx.doi.org/10.1108/9781838678555.

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