"This article traces how Yemeni artists have intervened in the representation of the conflict and war in Yemen since 2011. It analyzes the heterogonous artistic forms, contents, and representational strategies that Yemeni artists and filmmakers have employed to express their collective concerns over
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war and destruction. The constraints and limitations imposed by the conflict have also shaped the creative expressions of Yemeni wartime artists, especially in terms of sharing their work both with their own communities and with the wider world. While their creative work manifests the suffering of a nation, it also constitutes a refusal to live under weakness and lack of hope for the future. The concepts of tactical and participatory media and socially engaged art are used to refer to the production and dissemination of a variety of creative responses to the ongoing crisis in Yemen, as illustrated through selected art media forms." (Abstract)
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"There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differen
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ces in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi." (Publisher description)
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"Ob Youtube-Clips, Doku-Formate, Musikvideos, Fernsehinterviews oder Kurzspielfilme: Um eigene Filmprojekte erfolgreich umzusetzen, braucht es mehr als eine Idee und eine Kamera. Thomas Strauch und Carsten Engelke erklären die zentralen Aspekte der praktischen Ästhetik und machen in einfachen Übu
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ngen damit vertraut. Sie zeigen, wie auch Anfänger gelungene Filme produzieren können. Jedes Kapitel bietet Beispiele und Merksätze für die Praxis." (Klappentext)
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"Since the beginnings of African cinema, the realm of beauty on screen has been treated with suspicion by directors and critics alike. James S. Williams explores an exciting new generation of African directors, including Abderrahmane Sissako, Mahamat-Saleh Haroun, Fanta Regina Nacro, Alain Gomis, Ne
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wton I. Aduaka, Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and embrace the concept of cinematic beauty by not reducing it to ideological critique or the old ideals of pan-Africanism. Locating the aesthetic within a range of critical fields - the rupturing of narrative spectacle and violence by montage, the archives of the everyday in the "afropolis", the plurivocal mysteries of sound and language, male intimacy and desire, the borderzones of migration and transcultural drift - this study reveals the possibility for new, non-conceptual kinds of beauty in African cinema: abstract, material, migrant, erotic, convulsive, queer. Through close readings of key works such as Life on Earth (1998), The Night of Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille soleils (2013) and Timbuktu (2014), Williams argues that contemporary African filmmakers are proposing propitious, ethical forms of relationality and intersubjectivity. These stimulate new modes of cultural resistance and transformation that serve to redefine the transnational and the cosmopolitan as well as the very notion of the political in postcolonial art cinema." (Publisher description)
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"Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally
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, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas." (Publisher description)
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"Contemporary anthropology is done in a world where social and digital media are playing an increasingly significant role, where anthropological and arts practices are often intertwined in museum and public intervention contexts, and where anthropologists are encouraged to engage with mass media. Be
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cause anthropologists are often expected and inspired to ensure their work engages with public issues, these opportunities to disseminate work in new ways and to new publics simultaneously create challenges as anthropologists move their practice into unfamiliar collaborative domains and expose their research to new forms of scrutiny. In this volume, contributors question whether a fresh public anthropology is emerging through these new practices." (Publisher description)
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"The contributors explore diverse contexts of performance to discuss peoples' own reflections on political subjectivities, governance and development. The volume refocuses anthropological engagement with ethics, aesthetics, and politics to examine the transformative potential of political performanc
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e." (Publisher description)
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"Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur cultu
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re. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself." (Publisher description)
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"Dieses Studienhandbuch stellt in kompakter Form das komplette Instrumentarium der Filmanalyse vor. Systematisch werden Filmgeschichte, Filmtheorie und das Zeichensystem des Films erläutert und durch Beispiele aus mehr als 100 Jahren Filmgeschichte veranschaulicht. Dabei werden auch neueste Entwick
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lungen berücksichtigt, vom Einsatz digitaler Technik bis zum 3D-Film. Studenten der Film- und Medienwissenschaften erhalten so eine Einführung in das ganze Instrumentarium der Filmanalyse und lernen es selbst anzuwenden." (Verlagsbeschreibung)
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"This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema." (Publisher description)
"Writing National Cinema traces the twenty-year history of the Peruvian film journal Hablemos de cine alongside that of Peruvian filmmaking and film culture. Similar to the influential French journal Cahiers du cinéma, Hablemos de cine began with a group of young critics interested in claiming the
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director’s use of mise-en-scène as the exclusive method of film analysis rather than thematic or star-oriented topics - hence, the title of the publication, derived from their battle cry at post-screening discussions: “Let’s talk about film.” Their critical authority grew with the rise of local filmmaking and the nationalist fervor of the late 1960s and early 1970s. When government sponsorship spurred feature filmmaking in the mid-1970s, their perspective eschewed the politically militant readings that characterized most writing and film from the rest of Latin America at the time. By the 1980s, the critics at Hablemos de cine had helped to engender a commercial, Hollywood-influenced cinematic vision-best exemplified by Peruvian auteur Francisco Lombardi-and stimulated a unique, if isolating, national identity through film." (Publisher description)
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"The list of critical terms selected and explicated in this book will signal many things to readers. It will certainly indicate that the study of media and religion is broadly interdisciplinary. Before the 1980s, the field, if it even was one, was largely the domain of historians of Christianity, Ch
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ristian communicators, and seminary professors, geared toward the improvement of church communication policy and practice, education, evangelism, and preaching. Matters have changed since then. Though religious organizations scholarship has explored the subject. Anthropology, cultural studies, media studies, visual and material culture, film studies, and religious studies are among the next generation of disciplines drawn to the study of media and religion. The new paradigm that this book articulates has described itself under a triad of terms: religion, media, and culture. What the third term means will be considered in detail in the Introduction here and in several of the Key Word essays. For the time being, it is important to say that the religion, media, and culture approach is not limited to the tendency to focus on journalism and communication policy, which is the legacy of the older practice. The aim here is not to dismiss or ignore them but to expand the remit and to change some key assumptions about what “religion” and “media” are in academic study. The difference turns on the third term, culture. The dominant approach taken here is constructivist in nature." (Preface, page xii-xiii)
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"The second edition of this already-classic text has been completely revised to reflect the metamorphosis of communication in the last 15 years and the ubiquity of visual communication in our modern mediated lifestyle. 13 major theories of communication are defined by the top experts in their fields
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: perception, cognition, aesthetics, visual rhetoric, semiotics, cultural studies, ethnography, narrative, media aesthetics, digital media, intertextuality, ethics, and visual literacy. Each of these theory chapters is followed by an exemplar study or two in the area, demonstrating the various methods used in visual communication research as well as the research approaches applicable for specific media types. The Handbook of Visual Communication is a theoretical and methodological handbook for visual communication researchers and a compilation for much of the theoretical background necessary to understand visual communication. It is required reading for scholars, researchers, and advanced students in visual communication, and it will be influential in other disciplines such as advertising, persuasion, and media studies. The volume will also be essential to media practitioners seeking to understand the visual aspects of how audiences use media to contribute to more effective use of each specific medium." (Publisher description)
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"This volume examines the influence of audio-visual media in cultural change in India. The essays focus on: the dynamics of network change; the relationships between image and viewer; and the journey of images between points of reading in contemporary India that are mediated through television, cine
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ma, video and the internet." (Publisher description)
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