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With contributions from 30 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies. Chapters address various methods of textual analysis, as well as reception studies, policy, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses emergent technologies and new research tools in such areas as software studies, gaming, and digital humanities. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research. Together, the chapters in this collection give media critics a complete toolbox of essential critical media studies methodologies.
Presented in a single volume, this engaging review reflects on the scholarship and the historical development of American broadcasting A Companion to the History of American Broadcasting comprehensively evaluates the vibrant history of American radio and television and reveals broadcasting’s influence on American history in the twentieth and twenty-first centuries. With contributions from leading scholars on the topic, this wide-ranging anthology explores the impact of broadcasting on American culture, politics, and society from an historical perspective as well as the effect on our economic and social structures. The text’s original and accessibly-written essays offer explorations on a wealth of topics including the production of broadcast media, the evolution of various television and radio genres, the development of the broadcast ratings system, the rise of Spanish language broadcasting in the United States, broadcast activism, African Americans and broadcasting, 1950’s television, and much more. This essential resource: Presents a scholarly overview of the history of radio and television broadcasting and its influence on contemporary American history Contains original essays from leading academics in the field Examines the role of radio in the television era Discusses the evolution of regulations in radio and television Offers insight into the cultural influence of radio and television Analyzes canonical texts that helped shape the field Written for students and scholars of media studies and twentieth-century history, A Companion to the History of American Broadcasting is an essential and field-defining guide to the history and historiography of American broadcasting and its many cultural, societal, and political impacts.
Introduces key ideas and offers a sense of the new frontiers and questions in the emerging field of disability media studies Disability Media Studies articulates the formation of a new field of study, based in the rich traditions of media, cultural, and disability studies. Necessarily interdisciplinary and diverse, this collection weaves together work from scholars from a variety of disciplinary homes, into a broader conversation about exploring media artifacts in relation to disability. The book provides a comprehensive overview for anyone interested in the study of disability and media today. Case studies include familiar contemporary examples—such as Iron Man 3, Lady Gaga, and Oscar Pistorius—as well as historical media, independent disability media, reality television, and media technologies. The contributors consider disability representation, the role of media in forming cultural assumptions about ability, the construction of disability via media technologies, and how disabled audiences respond to particular media artifacts. The volume concludes with afterwords from two different perspectives on the field—one by disability scholar Rachel Adams, the other by media scholars Mara Mills and Jonathan Sterne—that reflect upon the collection, the ongoing conversations, and the future of disability media studies. Disability Media Studies is a crucial text for those interested in this flourishing field, and will pave the way for a greater understanding of disability media studies and its critical concepts and conversations.
Mediated Girlhoods, Volume 2 is an anthology devoted to scholarship on girls' media culture. Taking a cultural studies approach, it includes studies of girls' media representations, girls' media consumption, and girls' media production. In an attempt to push research on girls' media culture in new directions, it responds to criticisms of previous research in this field by including studies of girls who are not white, middle-class, heterosexual, cisgender, or Western. Approaching girlhood, media, and methodology broadly, Mediated Girlhoods includes studies of such previously unexplored topics as girls' mimetic communication via Tumblr, the girlyboy in independent Filipino cinema, Qatari girls' film production, trans girlhood in advertising, Canadian girls' feminist activism, and the new girl subject imagined in Disney's Cinderella (2015). Mediated Girlhoods, Volume 2 is appropriate for undergraduate- and graduate-level courses, particularly graduate seminars exploring girlhood, media, and culture; youth media; youth cultures; and gender and media; and undergraduate courses housed within the following departments: media studies, communication studies, cultural studies, women's and gender studies, sociology, literature, history, education, and psychology.
Since the 1950s, writing about popular music has become a staple of popular culture.Rolling Stone,Vibe, andThe Sourceas well as music columns in major newspapers target consumers who take their music seriously. Rapidly proliferating fanzines, websites, and internet discussion groups enable virtually anyone to engage in popular music criticism. Until now, however, no one has tackled popular music criticism as a genre of journalism with a particular history and evolution.Pop Music and the Presslooks at the major publications and journalists who have shaped this criticism, influencing the public's ideas about the music's significance and quality. The contributors to the volume include academics and journalists; several wear both hats, and some are musicians as well. Their essays illuminate the complex relationships of the music industry, print media, critical practice, and rock culture. (And they repeatedly dispel the notion that being a journalist is the next best thing to being a rock star.) Author note:Steve Jonesis Professor of Communication at the University of Illinois, Chicago. Among his books areCyberSociety: Computer-Mediated Communication and Community(editor) andRock Formation: Popular Music, Technology, and Mass Communication.
This is one of the most demanding courses for Communication users, and THEORIES OF COMMUNICATION is considered the seminal text in the field. Littlejohn presents theories in a clear and accessible writing style while maintaining the high level of scholarship and analysis.
In Production Culture, John Thornton Caldwell investigates the cultural practices and belief systems of Los Angeles-based film and video production workers: not only those in prestigious positions such as producer and director but also many others, including gaffers, editors, and camera operators. Borrowing insights from cultural anthropology, Caldwell analyzes the stories workers tell and the rituals they enact to make sense of their labour and to critique the film and TV industry and the culture writ large. Far from being guarded, Hollywood executives and craftspeople work within an industry that obsessively reflects on itself and constantly exposes itself to the public. Caldwell suggests ways that scholarship might benefit by acknowledging the extent to which the industry first theorizes and critiques itself as part of economic and industrial habit. Caldwell's fieldwork combines interviews with industry workers; observations of sets and workplaces; and analyses of TV shows, industry documents, economic data, and promotional materials to show how film and video workers function in a radically transformed and unstable post-network industry. He chronicles how industry workers have responded to volatile changes including the convergence of "old" and "new" media; labour outsourcing; increasingly unruly labour and business relations; new production technologies; and multinational corporate conglomeration. He also explores new struggles over "authorship" within collective creative endeavours; the way that branding and syndication have become central business strategies for networks; and the "viral" use of industrial self-reflexivity to motivate consumers through DVD bonus tracks, behind-the-scenes documentaries, and "making-ofs." A significant, on-the-ground analysis of an industry in flux, Production Culture offers scholars new, more precise and holistic ways of thinking about media production as a cultural activity.

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