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Books on the topic 'Mediascape'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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1

Mediascape. New York, NY: Guggenheim Museum Publications, 1996.

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2

al, et, and Froehne. Mediascape. New York, NY: Guggenheim Museum, 1996.

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3

Kutasi, Paul. Psychedelic mediascape. Birmingham: University of Birmingham, 2002.

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4

Moinuddin, Shekh. Mediascape and The State. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51932-6.

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5

Sign crimes/road kill: From mediascape to landscape. Toronto: Between the Lines, 1992.

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6

Rodríguez, Clemencia. Fissures in the mediascape: An international study of citizens' media. Cresskill, N.J: Hampton Press, 2001.

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7

Ibrahim, Idi Subandy. Budaya populer sebagai komunikasi: Dinamika popscape dan mediascape di Indonesia kontemporer. Yogyakarta: Jalasutra, 2007.

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8

The digital glocalization of entertainment: New paradigms in the 21st century global mediascape. New York: Springer, 2011.

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9

Cupples, Julie, and Kevin Glynn. Shifting Nicaraguan Mediascapes. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64319-9.

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10

UK) IISHSS International Conference on the Economics and Psychosociology of Intercultural Relations in the Contemporary Mediascape (1st 2011 Cambridge. Proceedings of the 1st IISHSS International Conference on the Economics and Psychosociology of Intercultural Relations in the Contemporary Mediascape: February 15-18, 2011, Cambridge, UK. NEW YORK: ADDLETON ACADEMIC PUBLISHERS, 2011.

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11

Cunningham, Stuart. Australian television and international mediascapes. Cambridge: Cambridge University Press, 1996.

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12

Shade, Leslie Regan. Mediascapes: New patterns in Canadian communication. 3rd ed. Toronto, Ont: Nelson Education, 2010.

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13

1943-, Hill Michael, and Zwaga Wiebe, eds. Monitoring community attitudes in changing mediascapes. Palmerston North, N.Z: Dunmore Press, 2000.

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14

Kivikuru, Ullamaija. Changing mediascapes?: A case study in nine Tanzanian villages. Helsinki: University of Helsinki, Institute of Development Studies, 1994.

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15

Simsek-Caglar, Ayse. Mediascapes, advertisement industries and cosmopolitan transformatins: Turkish immigrants in Europe. Badia Fiesolana, San Domenico (FI): European University Institute, 2002.

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16

Frohne, Ursula, and Heinrich Klotz. Mediascape. Harry N. Abrams, 1997.

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17

Bangladeshs Changing Mediascape. Intellect (UK), 2012.

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18

Carter, Eli Lee. The New Brazilian Mediascape. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.001.0001.

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In this book, Eli Carter explores the ways in which the movement away from historically popular telenovelas toward new television and internet series is creating dramatic shifts in how Brazil imagines itself as a nation, especially within the context of an increasingly connected global mediascape. For more than half a century, South America’s largest over-the-air network, TV Globo, produced long-form melodramatic serials that cultivated the notion of the urban, upper-middle-class white Brazilian. Carter looks at how the expansion of internet access, the popularity of web series, the rise of independent production companies, and new legislation not only challenged TV Globo’s market domination but also began to change the face of Brazil’s growing audiovisual landscape. Combining sociohistorical, economic, and legal contextualization with close readings of audiovisual productions, Carter argues that a fragmented media has opened the door to new voices and narratives that represent a more diverse Brazilian identity.
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19

Kidd, Jenny. Museums in the New Mediascape. Routledge, 2016. http://dx.doi.org/10.4324/9781315596532.

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20

Takehana, Elise. Baroque Technotexts: Literature in a Digital Mediascape. Intellect Books, 2020.

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21

Kidd, Jenny. Museums in the New Mediascape: Transmedia, Participation, Ethics. Taylor & Francis Group, 2017.

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22

Museums in the new mediascape: Transmedia, participation, ethics. 2014.

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23

Carter, Eli Lee. New Brazilian Mediascape: Television Production in the Digital Streaming Age. University Press of Florida, 2020.

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24

Sigismondi, Paolo. The Digital Glocalization of Entertainment: New Paradigms in the 21st Century Global Mediascape. Springer, 2011.

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25

Sigismondi, Paolo. The Digital Glocalization of Entertainment: New Paradigms in the 21st Century Global Mediascape. Springer, 2013.

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26

Moinuddin, Shekh. Mediascape and The State: A Geographical Interpretation of Image Politics in Uttar Pradesh, India. Springer, 2017.

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27

Moinuddin, Shekh. Mediascape and The State: A Geographical Interpretation of Image Politics in Uttar Pradesh, India. Springer, 2018.

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28

Rodriguez, Clemencia. Fissures in the Mediascape: An International Study of Citizens' Media (Hampton Press Communication Series (Communication Alternatives Subseries).). Hampton Pr, 2001.

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29

Rodriguez, Clemencia. Fissures in the Mediascape: An International Study of Citizens' Media (Hampton Press Communication Series (Communication Alternatives Subseries).). Hampton Press, 2001.

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30

Ó Briain, Lonán. On Becoming Vietnamese. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0002.

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Chapter 1 examines the mythologization of the Hmong and other minorities by mainstream performing artists to show how those minorities have been inscribed into Vietnam’s national consciousness through popular music. The chapter traces the early history and migrations of the Hmong into the mountains of Southeast Asia to their formal identification as an ethnic group in French Indochina. From revolutionary songs (ca khúc cách mạnh) in the 1950s and 1960s to independent creative artists in the late twentieth and early twenty-first centuries, the multivalent superculture that comprises the Vietnamese mediascape has perpetuated a series of stereotypes about the minorities. Songs, artists, and composers are linked to historically situated political developments to illustrate the gradual assimilation of Hmong and other minorities into Vietnamese culture and society.
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31

Eckmann, Sabine, and Lutz Koepnick. MediaScapes: Art, Technology, Nature. University of Chicago Press, 2010.

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32

1954-, Attallah Paul, and Shade Leslie Regan 1957-, eds. Mediascapes: New patterns in Canadian communication. 2nd ed. Toronto: Thomson Nelson, 2006.

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33

Mediascapes: New Patterns in Canadian Communication. Nelson Education Limited, 2013.

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34

Paul, Attallah, and Shade Leslie Regan 1957-, eds. Mediascapes: New patterns in Canadian communication. Scarborough, Ont: Nelson Thomson Learning, 2002.

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35

Words Mediascopie de Vocabulaire Anglais. French & European Pubns, 1991.

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36

Vernallis, Carol, Amy Herzog, and John Richardson, eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.
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37

Colonial Mediascapes Sensory Worlds Of The Early Americas. University of Nebraska Press, 2014.

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38

Colonial Mediascapes Sensory Worlds Of The Early Americas. University of Nebraska Press, 2014.

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39

Gusdorf, Florent. Words Mediascopie du Vocabulaire Anglais; Terminales. French & European Pubns, 1991.

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40

Fleury, James, Bryan Hikari Hartzheim, and Stephen Mamber, eds. The Franchise Era. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.001.0001.

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As Hollywood shifts towards the digital era, the role of the media franchise has become more prominent. Over a series of essays by a range of international scholars, this edited collection argues that the franchise is now an integral element of American media culture. As such, the collection explores the production, distribution, and marketing of franchises as a historical form of media-making. In particular, the essays analyze the complex industrial practice of managing franchises across interconnected online platforms with a global scope, presenting a network of scholarly texts that critically look at the collision of new and old industrial logics against an ever more fragmented and consolidated mediascape. The authors address how traditional incumbents like film studios and television networks have responded to the rise of big data, Silicon Valley companies like Facebook, Apple, Amazon, Netflix, and Google; the ways in which legacy franchises are adapting to new media platforms and technologies; the significant historical continuities and deviations in franchise-making and how they shape the representation of on-screen texts across digital displays; and, finally, how emerging media formats are expanding the possibility for transmedia experiences. In this regard, The Franchise Era: Managing Media in the Digital Economy offers an in-depth analysis of the tectonic shifts that have disrupted entertainment companies in the twenty-first century, demonstrating that the media franchise stands front and center in this high-stakes environment.
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41

Words Mediascopie du Vocabulaire Anglais; Classes Preparatoires. French & European Pubns, 1991.

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42

Cupples, Julie, and Kevin Glynn. Shifting Nicaraguan Mediascapes: Authoritarianism and the Struggle for Social Justice. Springer, 2017.

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43

Guneratne, Anthony R. Shakespeare’s Rebirth. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.13.

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Shakespeare adaptations are uniquely suited to chart the historical reciprocity between performance traditions and emerging mediascapes. Reframing a classical essay of Walter Benjamin’s within the context of contemporary media theory, this chapter draws together archival research, interviews, and observations of performances in related aesthetic forms that have engaged with Shakespeare’s texts, including those by such key figures as Giuseppe Verdi, George Balanchine, and Mario Castelnuovo-Tedesco. By focusing on connections between the inventors of audiovisual technologies (from early audio recordings to ‘live’ HD broadcasts) and key performances by actors, singers, and dancers, and by examining how contemporary performers respond to today’s digital technologies in the light of the traditions of performance established by their predecessors, it attempts to resituate the study of adaptations of Shakespeare within broader historical and cultural contexts.
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44

Parks, Lisa, and Nicole Starosielski. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039362.003.0012.

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This introductory chapter provides an overview of signal traffic in the contemporary era of media globalization—an era characterized by contradictory global mediascapes and multiple media infrastructures. Signal traffic refers to the movement of electronic media across various parts of the planet. Today, broadcasting, cable, satellite, Internet, and mobile telephone systems are used simultaneously, and sometimes in coordinated ways, to route signal traffic to and from sites around the world. The content and form of contemporary media—whether television programs or online games—are shaped in relation to the properties and locations of these distribution systems. As a suggestive concept, then, signal traffic demarcates a critical shift away from the analysis of screened content alone and toward an understanding of how content moves through the world and how this movement affects content's form.
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45

Fu, Junning. A Dream of Returning to 1997. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.15.

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This chapter analyzes the Chinese web fantasy novelA Dream of Returning to 1997,created and serialized between 2004 and 2005 by the pseudonymous author Tonglingzhe, as a basis for reflecting upon the medial and commercial pragmatics as well as the ideological framework of web literature. With its plot of a web fantasy aficionado who achieves literary and economic success only after traveling back in time and reaping the fruits of his earlier unproductive spare-time activity, the novel offers a self-referential commentary on the genre of web fantasy and its infrastructure. Apart from fictionalizing the history of the genre and the company that runs its major platform (Qidian), the novel also reflects on, questions, and elides the binary oppositions between original and copy, as well as high literature and popular culture, thus allowing for a reflection on the real and imaginary economies and mediascapes of capitalist modernity.
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46

Murphy, Patrick D. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252041037.003.0001.

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This introduction situates the book within an apparent paradox: In this age of climate change, internationally networked media systems and mobile technologies increasingly serve as the purveyors of environmentally “progressive” themes designed to awaken eco-consciousness and engender citizen based action. However, despite the rise in eco-driven plots in entertainment, green advertising and green voices in the blogosphere, citizens from countries both rich and poor around the world continue to be enmeshed in mediascapes designed to encourage consumption. To engage these contradictions and developments, this chapter outlines why it is important to make sense of the media’s circulation of ideas and issues regarding the environment around the globe, setting the tone for the following chapters by suggesting how the study of media and globalization can expose the links between corporate agendas, state agendas, consumer culture, resource depletion, food security, environmental risk, anthropogenic climate change, and public life.
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