To see the other types of publications on this topic, follow the link: Mir Media (Firm).
Books on the topic 'Mir Media (Firm)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 19 books for your research on the topic 'Mir Media (Firm).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse books on a wide variety of disciplines and organise your bibliography correctly.
1
Emison, Patricia. Moving Pictures and Renaissance Art History. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036.
Full textAbstract:
Film, like the printed imagery inaugurated during the Renaissance, spread ideas – not least the idea of the power of visual art – across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.
2
La Caze, Marguerite, and Ted Nannicelli, eds. Truth in Visual Media. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474467.001.0001.
Full textAbstract:
This book investigates the interrelations between aesthetics, ethics, and politics in a variety of visual media forms ranging across art installations, film and television, interactive documentaries, painting, photography, social media and videogames. An international mix of emerging and established authors, with interdisciplinary expertise, explores how different ethical questions, political implications, and aesthetic pleasures arise and shape one another in particular ways in distinct visual media. Investigating themes such as the use of cinema as a medium for ethical and political thought, how documentary subjects both conceal and reveal truth, the new ethical challenges arising from interactive media and the role of images in responding to political events and trauma, this is a groundbreaking work about the interrelations of aesthetic, ethical and political values in visual media.
3
Orlin, Lesley E. Media Review Digest, 1986: The Only Complete Guide to Reviews of Non-Book Media : Mdr, Film and Video, Filmstrips, Audio, Miscellaneous. Pierian Pr, 1987.
Find full text
4
Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.
Full textAbstract:
Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. This book examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. The research offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world.
5
Joosen, Vanessa, ed. Connecting Childhood and Old Age in Popular Media. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496815163.001.0001.
Full textAbstract:
Media narratives in popular culture often ascribe interchangeable characteristics to childhood and old age. In the manner of George Lakoff and Mark Johnson’s Metaphors We Live By, the authors in this volume envision the presumed semblance between children and the elderly as a root metaphor that finds succinct articulation in the idea that “children are like old people” and vice versa. The volume explores the recurrent use of this root metaphor in literature and media from the mid-nineteenth century to the present. The authors demonstrate how it shapes and is reinforced by a spectrum of media products from Western and East-Asian countries. Most the media products addressed were developed for children as their primary audience, and range from children’s classics such as Heidi to recent Dutch children’s books about euthanasia. Various authors also consider narratives produced either for adults (for instance, the TV series Mad Men, and the novel Extremely Loud and Incredibly Close) or for a dual audience (for example, the family film Paddington or The Simpsons). The diversity of these products in terms of geography, production date, and audience buttresses a broad comparative exploration of the connection between childhood and old age, allowing the authors to bring out culturally specific aspects and biases. Finally, since this book also unites scholars from a variety of disciplines (media studies, children’s literature studies, film studies, pedagogy, sociology), the individual chapters provide a range of methods for studying the connection between childhood and old age.
6
Kassabian, Anahid. The End of Diegesis As We Know It? Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.032.
Full textAbstract:
This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. The distinction between diegetic and nondiegetic music and its critiques have become something of an industry in film music studies lately. There are articles, sections of journal issues, conference sessions, and other activities organized on the topic. As I argued inHearing Film(2001), I have never found the terminology particularly useful, though as many have suggested, we can’t throw out all sense of the distinction that the vocabulary tries to describe. The problem, however, amps up exponentially when video games and Web sites are added to the mix. The use of music in “new media” challenges most of film music studies’ assumptions and presumptions, and these new practices demand new approaches and vocabulary. This chapter focuses on the challenges posed to film music studies models by digital media practices.
7
Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.
Full textAbstract:
The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
8
Walley, Jonathan. Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.001.0001.
Full textAbstract:
Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.
9
Schotter, Jesse. The Hieroglyphics of Character. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424776.003.0003.
Full textAbstract:
This chapter examines how hybrid conceptions of language and media come to challenge representations of literary character and narrative in the modernist period. Understanding Virginia Woolf as a film theorist situated within the ferment of avant-garde film culture in London in the mid-1920s—a period which saw the formation of the journal Close-Up and the London Film Society—the chapter argues that Woolf’s engagement with film and its ‘hieroglyphs’ in her essay ‘The Cinema’ transforms her understanding of language and character in To the Lighthouse. Throughout the late 1920s, Woolf imagines writing as emulating the material and visual form of hieroglyphs, revealing the inscriptions graven upon the ‘sacred tablets’ of the minds and hearts of her characters.
10
Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.
Full textAbstract:
This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).
11
Rogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.
Full textAbstract:
This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.
12
Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
Full textAbstract:
This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
13
Murphet, Julian. The Negative Plate; or, Absalom, Absalom! and the camera’s voice. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664244.003.0005.
Full textAbstract:
This chapter examines the structural tension between voice and image in Absalom, Absalom!, relating the novel’s formal resolutions to developments in photography, the printing press, and talking pictures. Considering the cognate set of mid-1930s relationships between word and image in the “photographic essay,” newspapers, and film, the chapter situates Faulkner’s artistic achievements in the context of larger cultural concerns about the storytelling capacity of visual images, the limits of textuality as an indexical medium, and the media’s commercial imperatives. The chapter directly relates these concerns to the tension in Faulkner’s aesthetic ideology between modernistic imperatives and antiquated romantic tendencies, since here the passage between text and image implies the “inheritance” and transmission of a romance gene from one media ecology to another by way of a hypnotizing tall tale. The chapter also looks closely at Pylon, examining a cultural mode of production and its relationship to capitalism more generally.
14
Clasen, Mathias. Monsters Everywhere. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0006.
Full textAbstract:
The chapter gives an outline of the history of American horror across media, from prehistoric roots to postmodern slasher films and horror videogames. A specifically American literary horror tradition crystallizes in the mid-1800s, with authors such as Edgar Allan Poe, and is developed in the twentieth century by writers including H. P. Lovecraft. In that century, horror films—beginning with Universal’s monster films of the 1930s—became the dominant medium for the genre. Horror became a mainstream genre during the 1970s and 1980s, with the emergence of popular writers like Stephen King and many lucrative film releases. Slasher films dominated the 1980s and were reinvented in a postmodern version in the 1990s. Horror videogames became increasingly popular, offering high levels of immersion and engagement. The chapter shows that horror changes over time, in response to cultural change, but changes within a possibility space constrained by human biology.
15
Phillis, Philip E. Greek Cinema and Migration, 1991-2016. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437035.001.0001.
Full textAbstract:
Greek Cinema and Migration examines the ways in which the cinema of Greece has responded to the post-1990s phenomenon of becoming a host country for immigrants. The book focuses mainly on migration from Albania that dominated social discourse and cinematic representation in the 1990s and 2000s, but also sheds light on cinematic responses to the mid-2010s ‘refugee crisis’. Placing contemporary Greek cinema within the context of European film production and transnational cinema, the book explores the fascination of Greek filmmakers with migration, mobility, borders and identity between 1991 and 2016. With case studies such as The Suspended Step of the Stork (1991), The Way to the West (2003) and many more, Greek Cinema and Migration provides an in-depth understanding of contemporary Greek cinema and its direct correlation to the country’s struggles to implement European modernity. It tackles important questions on identity and representation, highlighting the role of migrants as constitutive ‘others’ who help to redefine national identity in times of encroaching globalization. The book raises in addition important questions on representations of migrants and refugees in film and mainstream media, focusing primarily on the role of migrant-related violence and its links to both humanitarianism and the agenda of the Far Right which gained a strong footing in crisis-era Greece. The author thus argues that migrants and refugees appear as either perpetrators or victims of violence in an intolerant host society, strengthening thus the role of stereotypes – both negative and positive.
16
Barbosa, Adriano Tadeu. Marketing pessoal (não) é para todos. Brazil Publishing, 2021. http://dx.doi.org/10.31012/978-65-5861-315-2.
Full textAbstract:
No conhecido popular, Spoiler é quando alguma fonte de informação, como um site ou um amigo, revela informações sobre o conteúdo de algum livro ou filme, sem que a pessoa tenha visto. Neste caso eu faço o papel do amigo que vai revelar o conteúdo deste livro. Conforme você for lendo você vai tendo a chance de interagir, seja de forma impressa - se foi este o formato escolhido do seu livro, ou de forma digital - se for um e-book. Ah, na forma impressa você também pode ir pro digital, pois ao longo da construção do seu Plano de Marketing Pessoal neste livro, você vai encontrar QR Codes para mirar seu celular e preencher com suas informações até completar o seu plano, que ainda será visto por mim antes de lhe enviar, por e-mail, diante do seu registro. Claro que com a nova lei de proteção de dados nós sabemos que eu não irei fazer nada com seus dados além de gerar minhas considerações sobre seu plano, sendo para mim uma fonte particular de estudos à medida que todos preenchem os planos, para que eu possa consultar e encontrar os principais problemas e soluções para eu continuar a criar conteúdos com este tema, nas minhas redes sociais. Então é tudo em comum acordo. E com muito carinho, porque para mim este meu trabalho, ao qual me dedico desde 2006, levará meus sonhos à realidade até o fim da vida, pois amo o que faço, por isso quero ajudar você a também seguir com seus sonhos e projetos, acrescentando um pouco mais do Marketing Pessoal aos seus objetivos. Confie e vamos juntos, desde já com minha gratidão. Por fim, este livro marca o início de um novo ciclo com minha empresa, a Ponto Pessoal, que você conhecerá a história logo mais. Já são 10 anos, de 2010 a 2020, no meio da construção e vivência de muitas experiências pelo Brasil, que me fizeram escrever este livro, tomando a partir de agora lugar no histórico de resultados da minha vida, transformando o Marketing Pessoal para o Marketing para Pessoas. Espero que faça muito sentido para você, assim como faz para mim, e, que juntos, possamos ir mais além, descobrindo se ele é ou não para todos.
17
Sheppard, W. Anthony. Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.001.0001.
Full textAbstract:
Extreme Exoticism: Japan in the American Musical Imagination offers a detailed and wide-ranging documentation and investigation of the role of music in shaping American perceptions of the Japanese, the influence of Japanese music on American composers, and the place of Japanese Americans in American musical life. This book covers over 150 years of American musical history, from the first American encounters with the Japanese in the mid nineteenth-century to today, as it reveals the central role of music in American japonisme. Nearly every musical genre, media, and form is discussed, as parallels between “high” and “low” art and connections between various art forms are explored. Particular emphasis is placed on popular song in both the Tin Pan Alley period and in more recent decades and on representations of the Japanese throughout the history of Hollywood film and Broadway musicals. Manifestations of the “Madame Butterfly” narrative are explored throughout a wide range of popular musical, cinematic, and theatrical genres. Musical representations of Japan were directly connected to efforts to reshape American perceptions of race and gender and for the purposes of political propaganda, particularly during World War II and the Cold War periods. The book also details the extensive influence of Japanese traditional music on modernist American composers and the pursuit of Japanese musical performance by numerous American musicians.
18
Coutinho, Luciano. Cura Psicossomática e Cura Política em Platão. Imprensa da Universidade de Coimbra, 2021. http://dx.doi.org/10.14195/978-989-26-2102-9.
Full textAbstract:
<p>Embora Platão tenha vivido há mais de dois mil e trezentos anos antes de nossa data atual no séc. xxi, suas teorias em torno do processo de cura surpreendem pela profundidade e atualidade com que se sustentam, intuem e revelam certos mistérios ainda para nossos dias. É bastante frequente encontrarmos imagens míticas associadas aos temas e às reflexões empreendidas pelo filósofo. Esse diálogo entre mito e filosofia é uma estratégia mais que didática, na medida em que Platão busca o que, nos mitos, é conhecimento válido para suas teorias e o que, neles, precisa ser alterado ou substituído. Com o tema da cura não é diferente, ele recorre a um almanaque mítico, impressionantemente, rico, a fim de naturalizar os processos de cura considerados, via de regra, mágicos. Para se perceber essa nuance, é preciso so verificar como as imagens míticas encantadas têm seus elementos alterados e/ou substituídos por elementos psicológicos. Esta é a chave para a compreensão do processo de cura psicossomática e de cura política em Platão que Luciano Coutinho coloca em diálogo com a atualidade filosófica e científica e com seu leitor.</p>
19
Fandiño Bohórquez, Andrés. Participación de las víctimas en la Jurisdicción Especial para la Paz (JEP) ¿Verdadera participación? Universidad Libre Sede Principal, 2017. http://dx.doi.org/10.18041/978-958-5466-80-7.
Full textAbstract:
A dos años del Acuerdo Colón (24 de noviembre de 2016), la incertidumbre y las esperanzas afloran en materia de implementación del Acuerdo suscrito entre el gobierno colombiano y el exgrupo guerrillero FARC. No es para menos, la lectura de vaso medio lleno o medio vacío no se hace esperar. Más de cuatro complejos años de negociación para la construcción de un documento histórico, leído de forma positiva por la Comunidad Internacional y los expertos en terminación de conflictos en el mundo, pero seriamente cuestionado en el marco interno por aquellos que aún veían en la guerra una opción para Colombia. Entre otras consecuencias, fruto de la firma del Acuerdo, hoy podemos destacar: el fin de la guerra, la entrega de armas, el cierre de la “fábrica de víctimas”, la construcción de proyectos de vida de los viejos excombatientes, la reconstrucción de territorios y las esperanzas de millones de víctimas y de colombianos en la creación de las condiciones del “nunca jamás”. Y aunque han surgido muchas limitaciones a la hora de implementar la tamaña empresa de la paz, el solo Acuerdo y el fin de la guerra ya son un triunfo. Un triunfo que aún huele a pólvora, lágrimas y abandono del Estado y de una sociedad que se enamora gradualmente de la paz. Es evidente que la consolidación de este proceso y el cumplimiento de lo pactado apenas avanza en un país que construye de forma lenta una nueva historia política desligada de la violencia y las armas. Qué difícil vernos sin armas, sin guerra, sin conflicto armado. De la noche a la mañana desnudos, “sin fierros”, sin enemigos eternos, sin “terroristas”, sin emboscadas, sin muertos, sin motivos para continuar matándonos. El Acuerdo Colón, aunque seriamente intervenido a partir del triunfo del “No” en las urnas, constituye además de una gran hoja de ruta, un modelo a seguir en materia de transición. Es un documento único, es un proceso histórico, es una de las mejores noticias del siglo XXI para Colombia, la historia le dará su digno lugar. Es el reflejo de una exguerrilla cuyo origen campesino y liberal cifró en la tierra y el campo parte de sus originales reivindicaciones, lastimosamente afectadas por el mundo del narcotráfico en los años 80 y la pauperización de sus ideales políticos. También el Acuerdo es el fiel ejemplo de la intervención de las víctimas en la construcción de una nueva historia. Es un documento escrito a mil manos, millones de espíritus, millones de esperanzas. Así, leer el Acuerdo de Paz es observar la historia de Colombia y de su conflicto armado con esta antiquísima guerrilla: tierra, reforma rural integral, participación polí