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Books on the topic '200104 Media Studies'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

Naren, Chitty, Rush Ramona R, and Semati Mehdi, eds. Studies in terrorism: Media scholarship and the enigma of terror. Penang: Southbound, 2003.

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2

A, Subervi-Vélez Federico, ed. The mass media and Latino politics: Studies of U.S. media content, campaign strategies, and survey research : 1984-2004. New York: Routledge/Taylor and Francis Group, 2007.

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3

1961-, Markula Pirkko, ed. Olympic women and the media: International perspectives. Basingstoke: Palgrave Macmillan, 2009.

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4

Morris, Dick. Off with their heads: Traitors, crooks & obstructionists in American politics, media, & business. New York, NY: ReganBooks, 2003.

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5

Morris, Dick. Off with their heads: Traitors, crooks & obstructionists in American politics, media, & business. New York, NY: ReganBooks, 2003.

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6

Zwischen Apologie und Ablehnung: Schweizer Spanien-Wahrnehmung vom späten Franco-Regime bis zur Demokratisierung. Köln: Böhlau, 2015.

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7

Mark, Stencel, and Lichter S. Robert, eds. Peepshow: Media and politics in an age of scandal. Lanham, Md: Rowman & Littlefield Publishers, 2000.

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8

Sandra, Poppe, Schüller Thorsten, and Seiler Sascha, eds. 9/11 als kulturelle Zäsur: Repräsentationen des 11. September 2001 in kulturellen Diskursen, Literatur und visuellen Medien. Bielefeld: Transcript, 2009.

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9

Präsident und Medien: Eine Studie zur Machtausübung durch Kommunikation am Beispiel von Jimmy Carter. Bern: P. Lang, 1985.

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10

R, Just Marion, ed. Crosstalk: Citizens, candidates, and the media in a presidential campaign. Chicago: The University of Chicago Press, 1996.

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11

Zwicker, Barrie. Towers of Deception. New York: New Society Publishers, 2009.

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12

Politics and propaganda: Weapons of mass seduction. Ann Arbor: University of Michigan Press, 2004.

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13

The cultural politics of post-9/11 American sport: Power, pedagogy and the popular. New York: Routledge, 2011.

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14

Benjamin, Seel Peter, ed. High-definition television: A global perspective. Ames: Iowa State University Press, 1998.

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15

Kaid, Lynda Lee. Videostyle in presidential campaigns: Style and content of televised political advertising. Westport, Conn: Praeger, 2001.

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16

Albert, Auster, ed. American film and society since 1945. 2nd ed. New York: Praeger, 1991.

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17

Banda, Osiris Alejandro Valdez. Proceedings of the International Seminar on Safety and Security of Autonomous Vessels (ISSAV) and European STAMP Workshop and Conference (ESWC) 2019. Warsaw: De Gruyter, 2020.

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18

Albert, Auster, ed. American film and society since 1945. 3rd ed. Westport, Conn: Praeger, 2002.

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19

United States. Office of the Independent Counsel (1994- ), United States Congress House, and United States. Congress. House. Committee on the Judiciary, eds. The Starr evidence: Including the complete text of the grand jury testimony of President Clinton and Monica Lewinsky. New York: PublicAffairs, 1998.

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20

Kelley, Grusin Elinor, and Utt Sandra Helene Englebright, eds. Media in an American crisis: Studies of September 11, 2001. Lanham, Md: Universty Press of America, 2005.

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21

Subervi-Velez, Federico. Mass Media and Latino Politics : Studies of U. S. Media Content, Campaign Strategies and Survey Research: 1984-2004. Taylor & Francis Group, 2009.

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22

Subervi-Velez, Federico. Mass Media and Latino Politics : Studies of U. S. Media Content, Campaign Strategies and Survey Research: 1984-2004. Taylor & Francis Group, 2009.

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23

Subervi-Velez, Federico. Mass Media and Latino Politics : Studies of U. S. Media Content, Campaign Strategies and Survey Research: 1984-2004. Taylor & Francis Group, 2009.

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24

The Mass Media and Latino Politics: Studies of Media Content, Campaign Strategies and Survey Research: 1984-2004 (Lea's Communication). Lawrence Erlbaum, 2008.

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25

The Mass Media and Latino Politics: Studies of Media Content, Campaign Strategies and Survey Research: 1984-2004 (Lea's Communication). Lawrence Erlbaum, 2008.

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26

Lloyd, John. What the Media Do to Our Politics. Constable and Robinson, 2004.

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27

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.

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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.
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28

(Editor), David O. Sears, James Sidanius (Editor), and Lawrence Bobo (Editor), eds. Racialized Politics: The Debate about Racism in America (Studies in Communication, Media, and Public Opinion). University Of Chicago Press, 2000.

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29

Racialized Politics: The Debate about Racism in America (Studies in Communication, Media, and Public Opinion). University Of Chicago Press, 2000.

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30

Morris, Dick. Off with Their Heads: Traitors, Crooks & Obstructionists in American Politics, Media & Business. HarperCollins, 2003.

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31

Mitchell, Jasmine. Imagining the Mulatta. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043284.001.0001.

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Imagining the Mulatta: Blackness in U.S. and Brazilian Media demonstrates how mixed-race women of African and European descent are harnessed in popular media as a tool to uphold white supremacy and discipline people of African descent to uphold state policies of antiblackness. Uncovering the racialized and gendered paradigms of U.S. and Brazilian media, the book uses case studies of texts from a broad range of popular culture media—film, telenovelas, television shows, music videos, magazines, newspapers, and Olympic ceremonies—to elucidate how the U.S. mulatta and Brazilian mulata figures operates within and across the United States and Brazil as a response to racial anxieties and notions of white superiority. These shared concepts of race, gender, and sexuality crystallize in the mulatta/mulata figure as representative of interlinked racial projects in Brazil and the United States. Focusing on popular culture and political events of the 2000s, the book demonstrates how the mulatta and mulata figures facilitated multicultural and postracial discourses. Exploring representations, definitions, and meanings of blackness in the context of the Americas, the book traverses the cultural conditions of racializations in the United States alongside Brazil to unveil the workings of pervasive racial and gender inequalities.
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32

Flynn, Moya, Elena Omel'Chenko, Ul'Iana Bliudina, and Elena Starkova. Looking West: Cultural Globalization and Russian Youth Cultures (Post-Communist Studies). Pennsylvania State University Press, 2002.

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33

Morris, Dick. Off with Their Heads: Traitors, Crooks, and Obstructionists in American Politics, Media, and Business. Harper Paperbacks, 2004.

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34

Pithouse, Andrew, and Michael Levi. White Collar Crime and Its Victims: The Social and Media Construction of Business Fraud (Clarendon Studies in Criminology). Oxford University Press, USA, 2006.

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35

Hollyfield, Jerod Ra'Del. Framing Empire. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429948.001.0001.

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This book examines postcolonial filmmakers adapting Victorian literature in Hollywood to contend with both the legacy of British imperialism and the influence of globalized media entities. Since decolonization, postcolonial writers and filmmakers have re-appropriated and adapted texts of the Victorian era as a way to 'write back' to the imperial centre. At the same time, the rise of international co-productions and multinational media corporations have called into question the effectiveness of postcolonial rewritings of canonical texts as a resistance strategy. With case studies of films like Gunga Din, Dracula 2000, The Portrait of a Lady, Vanity Fair and Slumdog Millionaire, this book argues that many postcolonial filmmakers have extended resistance beyond revisionary adaptation, opting to interrogate Hollywood's genre conventions and production methods to address how globalization has affected and continues to influence their homelands.
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36

Sandra, Poppe, Schüller Thorsten, and Seiler Sascha, eds. 9/11 als kulturelle Zäsur: Repräsentationen des 11. September 2001 in kulturellen Diskursen, Literatur und visuellen Medien. Bielefeld: Transcript, 2009.

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37

Seiler, Sascha, Sandra Poppe, and Thorsten Schüller. 9/11 Als Kulturelle Zäsur: Repräsentationen des 11. September 2001 in Kulturellen Diskursen, Literatur und Visuellen Medien. Transcript Verlag, 2015.

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38

Zwicker, Barrie. Towers of Deception: The Media Cover-up of 9/11. New Society Publishers, 2006.

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39

Morris, Dick. Off with Their Heads: Traitors, Crooks, and Obstructionists in American Politics, Media, and Business. Harper Paperbacks, 2004.

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40

Lichter, S. Robert, Larry J. Sabato, and Mark Stencel. Peepshow: Media and Politics in an Age of Scandal. Rowman & Littlefield Publishers, Inc., 2000.

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41

Neale, Steve. Film, Cinema, Genre. Edited by Frank Krutnik and Richard Maltby. University of Exeter Press, 2021. http://dx.doi.org/10.47788/yrcc6901.

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This book brings together key works by pioneering film studies scholar Steve Neale. From the 1970s to the 2010s Neale’s vital and unparalleled contribution to the subject has shaped many of the critical agendas that helped to confirm film studies’ position as an innovative discipline within the humanities. Although known primarily for his work on genre, Neale has written on a far wider range of topics. In addition to selections from the influential volumes Genre (1980) and Genre and Hollywood (2000), and articles scrutinizing individual genres – the melodrama, the war film, science fiction and film noir – this Reader provides critical examinations of cinema and technology, art cinema, gender and cinema, stereotypes and representation, cinema history, the film industry, New Hollywood, and film analysis. Many of the articles included are recommended reading for a range of university courses worldwide, making the volume useful to students at undergraduate level and above, researchers, and teachers of film studies, media studies, gender studies and cultural studies. The collection has been selected and edited by Frank Krutnik and Richard Maltby, scholars who have worked closely with Neale and been inspired by his diverse and often provocative critical innovations. Their introduction assesses the significance of Neale’s work, and contextualizes it within the development of UK film studies.
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42

Bollig, Ben. Moving Verses. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859784.001.0001.

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From Wild Tales to Zama, Argentine cinema has produced some of the most visually striking and critically lauded films of the 2000s. Argentina also boasts some of the most exciting contemporary poetry in the Spanish language. What happens when its film and poetry meet on screen? Moving Verses studies the relationship between poetry and cinema in Argentina. Although both the “poetics of cinema” and literary adaptation have become established areas of film scholarship in recent years, the diverse modes of exchange between poetry and cinema have received little critical attention. This book analyses how film and poetry transform each another, and how these two expressive media behave when placed into dialogue. Going beyond theories of adaptation, and engaging critically with concepts around intermediality and interdisciplinarity, Moving Verses offers tools and methods for studying both experimental and mainstream film from Latin America and beyond. The corpus includes some of Argentina’s most exciting and radical contemporary directors (Raúl Perrone, Gustavo Fontán) as well as established modern masters (María Luisa Bemberg, Eliseo Subiela), and seldom studied experimental projects (Narcisa Hirsch, Claudio Caldini). The critical approach draws on recent works on intermediality and “impure” cinema to sketch and assess the many and varied ways in which directors “read” poetry on screen.
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43

Lawrence, Regina G., and Allissa V. Richardson. The Politics of Force. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197616543.001.0001.

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Abstract This book considers how media coverage of unexpected, dramatic events shapes public consciousness about important social and political problems. It argues that when incidents of police brutality become news, they offer one of the few real battlegrounds available for marginalized voices and activists to find a public platform and take on the powerful. Including new chapters that look more closely at race and racial justice in incidents of police force, the text reflects on the context in which the first edition was written—a time when race and policing were rarely discussed in the news or in the field of political communication—and considers what has changed in media studies since the year 2000, what hasn’t changed, and why. It considers coverage of more recent incidents of police violence and the ways in which the voices of citizen activists are treated in the news today. The text also addresses the important question of how defining political problems through such events might or might not produce more lasting policy change.
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44

Ames, Melissa. Small Screen, Big Feels. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.001.0001.

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While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010--2020), ABC's reality franchises, The Bachelor (2002--present) and The Bachelorette (2003--present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.
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45

Politics and Propaganda: Weapons of Mass Seduction. University of Michigan Press, 2005.

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46

Gupta, Suman. Political Catchphrases and Contemporary History. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863690.001.0001.

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Abstract A historical account of the period 2001–2020 is presented by focusing on the shifting connotations of certain political catchphrases and words. These allow for a linked-up narrative covering areas such as politics and policy, business and investing, austerity and inequality, identity, climate change, crowd protests, flexible working, and online education. Key junctures are 9/11, the 2002 dot-com crash and the 2007–2008 financial crisis, the Occupy movements of 2011–2012, China’s economic policy from 2014 onwards, and the COVID-19 outbreak in 2020. Half the book is devoted to the unusually pervasive usage of the catchphrase ‘new normal’. Chapters are also given to ‘we are the 99%’ and the catchwords ‘austerity’ and ‘resilience’. Case studies of these catchphrases and words occupy much of the book. The final chapter makes conceptual inferences and proposes both a theory of political catchphrases and a distinctive approach to contemporary history. The source materials are predominantly from the UK and USA, but refer, naturally, to issues of global moment. The book would be of particular interest to students and researchers in politics and policy studies, contemporary social history, cultural studies and sociology, discourse analysis, and media studies. While following an academic format, it is written in an accessible style and would appeal to all who are alive to the momentous developments that are unfolding at present.
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47

O'Shaughnessy, Nicholas J. Politics and Propaganda. Manchester University Press, 2004.

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48

Hachad, Naïma. Revisionary Narratives. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.001.0001.

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Revisionary Narratives examines the historical and formal evolutions of Moroccan women’s auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond literary texts. It analyzes auto/biographical and testimonial acts in Arabic, colloquial Moroccan Darija, French, and English in the fields of prison narratives, visual arts, theater performance, and digital media, situating them within specific sociopolitical and cultural contexts of production and consumption. Part One begins by tracing the rise of a feminist consciousness in prison narratives produced and/or published in the late 1970s through the 2000s. Part Two moves to analyzing the ubiquity of auto/biography and testimony in the arts as well as contemporary sociopolitical activism. The focus throughout the various case studies is women’s engagement with patriarchal and (neo)imperial norms and practices as they relate to their experiences of political violence, activism, migration, and displacement. To understand why and how women collapse the boundaries between autobiography, biography, testimony, and sociopolitical commentary, the book employs a broad, transdisciplinary, montage approach that combines theories on gender and autobiography and takes into account postcolonial, postmodern, transnational, transglobal and translocal perspectives.
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49

Tonry, Michael. Thinking about Crime: Sense and Sensibility in American Penal Culture (Studies in Crime and Public Policy). Oxford University Press, USA, 2006.

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50

Thinking about Crime: Sense and Sensibility in American Penal Culture (Studies in Crime and Public Policy). Oxford University Press, USA, 2004.

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