Bøger i Critical Media Studies serien

Wilbur Schramm and Noam Chomsky Meet Harold Innis is an original, critical, in-depth analysis of the media and communication thought of Canada's most highly acclaimed scholar, Harold Adams Innis. Even in Canada, however, Innis's writings until now have been only partially cited and interpreted: Innis is usually stereotyped as being merely an economic historian fixated on previous civilizations, whereas in fact he was an astute analyst whose main concerns were with present problems and future trajectories. In the United States, meanwhile, Innis's media and communication writings have been quite neglected and even denigrated. Drawing on Innis's less frequently cited work, including his long neglected Political Economy in the Modern State, Robert Babe opens up Innis's media scholarship as a whole, unfolding it in startling critical, yet ultimately appreciative ways. By comparing Innis's media scholarship with Wilbur Schramms and Noam Chomskys, moreover, Babe tests the claims, positions, and modes of analysis not only of Innis, but also of the other two celebrated scholars as well, casting new light on their works and allowing the reader to imagine what sort of discourses might have been possible had the three been in conversation together. Wilbur Schramm and Noam Chomsky Meet Harold Innis provides comparative insight into foundational media scholarship in the United States and Canada, and explores in some detail the relevance of Innis for twenty-first century digitized society.

Essays about education and popular culture.

Essays about education and popular culture.

This volume contains essays by Wake Forest University students enrolled in the Communication Department seminar Critical Media Studies: Deadwood and the Western. Over the course of one semester, students worked in three research teams (led by a graduate student and structured around the seasons of the series) and shared their work with the entire class through oral presentations. They engaged in peer editing of their writing before submission, learned about copyright law and fair use, collected terms for the index, and had spirited class discussions about scholarly essays on Deadwood and the Western genre. The students came away from the course with a deeper appreciation of what many critics and viewers consider one of the greatest television series ever made. This is Volume 2 in the Critical Media Studies Series. Volume 1, Student Essays on The Wire, was published in 2015.

We know all kinds of monsters. Vampires who suck human blood, werewolves who harass tourists in London or Paris, zombies who long to feast on our brains, or Godzilla, who is famous in and outside of Japan for destroying whole cities at once. Regardless of their monstrosity, all of these creatures are figments of the human mind and as real as they may seem, monsters are and always have been constructed by human beings. In other words, they are imagined. How they are imagined, however, depends on many different aspects and changes throughout history. The present volume provides an insight into the construction of monstrosity in different kinds of media, including literature, film, and TV series. It will show how and by whom monsters are really created, how time changes the perception of monsters and what characterizes specific monstrosities in their specific historical contexts. The book will provide valuable insights for scholars in different fields, whose interest focuses on either media studies or history.

For many the postcard may seem trivial, little more than a mundane souvenir or a way to keep in touch with friends and relatives while on vacation. But if we look carefully, postcards offer valuable insights into the time periods in which they were created and the mentalities of those who bought or sent them. Frank Marhefka, while serving in the U.S. Army Motor Transportation Corps during the First World War, amassed a collection of more than 150 postcards and photographs while in France, and bound them into a souvenir album. Marhefka's collection provides a diverse and vivid look into a period of history that - in many soldiers' accounts - is not usually visualized with all its cruelties. Emphasizing the pictorial turn of the Great War, this album offers personal insight into a conflict that caused so much death and destruction. The book begins with an introduction providing a history of postcards and their extensive use by soldiers during the Great War. Then, after a biography of Marhefka, his postcard collection is presented in its entirety. Accompanying the images are brief texts that place them into historical context, as well as suggestions for further reading.As a visual artifact of the First World War and the perspective of one U.S. soldier, this book is aimed at students, scholars, postcard collectors, and general readers alike who have an interest in military history and popular culture.

Video games are inherently transnational by virtue of industrial, textual, and player practices. The contributors touch upon nations not usually examined by game studies - including the former Czechoslovakia, Turkey, India, and Brazil - and also add new perspectives to the global hubs of China, Singapore, Australia, Japan, and the United States.

Knowledge Workers in the Information Society addresses the changing nature of work, workers, and their organizations in the media, information, and knowledge industries.

This book addresses the notorious split between the two fields of cultural studies and political economy. Drawing on the works of Harold Innis, Theodor Adorno, Raymond Williams, Richard Hoggart, E.P. Thompson, and other major theorists in the two fields, Robert E. Babe shows that political economy can be reconciled to certain aspects of cultural studies, particularly with regards to cultural materialism. Uniting the two fields has proven to be a complex undertaking though it makes practical sense, given the close interaction between political economy and cultural studies. Babe examines the evolution of cultural studies over time and its changing relationship with political economy. The intersections between the two fields center around three subjects: the cultural biases of money, the time/space dialectic, and the dialectic of information.

Video games are inherently transnational by virtue of industrial, textual, and player practices. The contributors touch upon nations not usually examined by game studies - including the former Czechoslovakia, Turkey, India, and Brazil - and also add new perspectives to the global hubs of China, Singapore, Australia, Japan, and the United States.

The Laboring of Communication examines the transformation of work and of worker organizations in today's Information Society. The book focuses on how traditional trade unions and new worker associations growing out of social movements are coming together to address the crisis of organized labor. It concentrates on the creative responses of the technical and cultural workers in the mass media, telecommunications, and information technology industries. Concentrating on political economy, labor process, and feminist theory, it proceeds to offer several ways of thinking about communication workers and the nature of the society in which they work. Drawing on interviews and the documentary record, the book offers case studies of successful and unsuccessful efforts among both traditional and alternative worker organizations in the United States and Canada. It concludes by addressing the thorny issue of outsourcing, describing how global labor federations and nascent worker organizations in the developing world are coming together to develop creative solutions.

Ranging from prophecy in sixteenth-century England to the self-managed projects of critical literacy and social change, this work assesses the historical heritage, present conditions, and future possibilities of remade media landscape for democratic communications.

The liberalization of communications markets, especially from the 1980s onward, has witnessed increased regulatory activity within but also above the national state. By examining the European case_concentrating on the European Union, the most advanced example of regionalism_Governing European Communications enhances understanding of the trend toward above-the-national-state regulation, its, drivers and its limitations. Analyzing in detail the origins, dynamics, and evolution of European-level communications governance in the postwar era, Michalis offers a single, comprehensive, and up-to-date account of telecommunications and television policies and regulation and their technological convergence.

Patronizing the Public is the first detailed and comprehensive examination of how American philanthropy has transformed culture, communication, and the humanities. Drawing on an impressive range of archival and secondary sources, the chapters in the volume shed light on philanthropic foundations have shaped numerous fields, including film, television, radio, journalism, drama, local history, museums, as well as art and the humanities in general.

Patronizing the Public is the first detailed and comprehensive examination of how American philanthropy has transformed culture, communication, and the humanities. Drawing on an impressive range of archival and secondary sources, the chapters in the volume shed light on philanthropic foundations have shaped numerous fields, including film, television, radio, journalism, drama, local history, museums, as well as art and the humanities in general.

Knowledge Workers in the Information Society addresses the changing nature of work, workers, and their organizations in the media, information, and knowledge industries.

With the spread of information and communication technologies (ICT)s comes the potential for new social and economic equalities. However, as Information, Power, and Politics: Technological and Institutional Mediations demonstrates, these technologies can also act as an impetus for democratizing information and knowledge.

Internet technology has arguably changed the rules by which individuals, social movements, and institutions compete for political and cultural influence in technologically advanced societies. The author considers this reality through reference to the concept of hegemony; looking to the ways in which diverse actors in American civil society compete with one another while simultaneously challenging dominant sources of authority. The Arab/Israeli conflict is drawn upon as a boundary object holding direct interest to a wide range of state-aligned lobbies, broadly-based social movements, and marginalized 'extremist' groups, each of which hopes to affect the course of U.S. Mid-East policy. While various dimensions of internet use and activism are explored, Stephen Marmura directs particular attention to the importance and limitations of the World Wide Web as a mass medium. Examining phenomena ranging from mainstream news dissemination to the propaganda warfare visible online amongst racist, religious fundamentalist, and ultra-nationalist organizations, he argues the Net's greatest advantages are ultimately accrued by those most vested in the political status quo. Marmura argues further that widespread use of the Web is likely contributing to processes of social fragmentation, even as it reinforces ideological discourses favorable to state power.

Corporations and Cultural Industries: Time Warner, Bertelsmann, and News Corporation, by Scott Warren Fitzgerald, provides an introduction to the political economy of international media corporations. This text fills a fundamental gap in the critical media studies field, expanding on the relative paucity of academic studies. To ground the discussion, Fitzgerald focuses on the growth of three specific media conglomerates: Time Warner, Bertelsmann and News Corporation. Adopting an approach rooted in critical political economy, the book explains the corporations' growth through an engagement with broader social theories: the wider conditions of capital accumulation (especially theories of corporate competition and financialization); issues of institutional logic and corporate strategies; and the role of states as regulators, mediators of opposed interests, and facilitators of corporate expansion.The first section presents debates in social theory, addressing issues that pertain to cultural industries and dimensions in which they both challenge and extend these wider social theories. The second section presents detailed case studies of the three contemporary media ';mega companies' across the range of operations they coordinate, both within and outside the cultural industries. By analyzing the specifics and complexities of different media industries, Corporations and Cultural Industries examines how financialization processes re-gear the internal operations of media corporations in a manner that pits one sector against another. This book provides an in-depth study that can be used as stand-alone teaching resources or as a valuable supplement to a variety of media courses.

This book describes the emergence of DIY punk record labels in the early 1980s. Based on interviews with sixty-one labels, including four in Spain and four in Canada, it describes the social background of those who run these labels. Especially interesting are those operated by dropouts from the middle class. Other respected older labels are often run by people with upper middle-class backgrounds. A third group of labels are operated by working-class and lower middle-class punks who take a serious attitude to the work. Using the ideas of French sociologist Pierre Bourdieu, this book shows how the field of record labels operates. The choice of independent or corporate distribution is a major dilemma. Other tensions are about signing contracts with bands, expecting extensive touring, and using professional promotion. There are often rivalries between big and small labels over bands that have become popular and have to decide whether to move to a more commercial record label. Unlike approaches to punk that consider it as subcultural style, this book breaks new ground by describing punk as a social activity. One of the surprising findings is how many parents actually support their children's participation in the scene. Rather than attempting to define punk as resistance or as commercial culture, this book shows the dilemmas that actual punks struggle with as they attempt to live up to what the scene means for them.

While Italian media industries are booming, changing, and challenging audiences, the existing Anglophone literature on the subject is scarce. Beyond Monopoly fills this gap by engaging with the most recent changes and trends in Italian media.