Relevant bibliographies by topics / Film and Media Culture

Academic literature on the topic 'Film and Media Culture'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Film and Media Culture"

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Bakulev, Gennady P. "Cinematic media in digital culture." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.

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Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades. Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments. Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres. By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity. The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
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Komalawati, Euis. "INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN." LUGAS Jurnal Komunikasi 1, no. 1 (May 18, 2018): 1–18. http://dx.doi.org/10.31334/jl.v1i1.101.

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As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.
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Ljajić, Samir. "Media culture in modern society." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 61–67. http://dx.doi.org/10.5937/univmis2019061l.

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The importance of media culture in contemporary society is extremely large because it shapes a modern man life, the creation of political attitudes and social behavior of individuals. The products of media culture, paintings, sounds and performances are increasingly organizing free time of a contemporary man, shaping his thinking and identity. Based on the content of radio, television, film, and new media technologies, a person creates an image of himself, his own potentials, values, success, as well as his own affiliation, a certain class, race, nationality, and thus media culture has a remarkable social significance. A number of relevant authors state that media culture shapes people's perceptions of the world, the value system, morality, good and evil. Worldwide, the contents of the media culture today constitute a general culture and are seen as the basis for new forms of global culture. A complex spectrum of actions that make media, primarily radio television, film, and media of modern technologies, creates the need for a more precise definition of the term media culture, bearing in mind its breadth and complexity. In this context, the main goal of this paper is to define the concept of media culture, in order to better understand all aspects, as well as the complexity of the whole that this term implies. Media culture is determined by the terms which provide an insight into a better understanding of this term, and in this paper they are given considerable attention. D. Kelner in the Media Culture section points to the following important determinants: a wide range of media resources that form an integral part of the media culture; performances created by the combination of picture and sound; creation of features and symbols of contemporary social life; media culture as a high technology culture (techno-culture); the relation between media culture and society; theory of media and cultures.
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Xue, Mengjie. "The Transmission Effect of Costume Dramas on International Social Media." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 82–85. http://dx.doi.org/10.54097/ehss.v1i.642.

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C-dramas are launched on YouTube platform, and the update speed overseas is the same as that at home. Overseas audiences can understand costume dramas through language symbols, star symbols, and they love costume dramas more than modern dramas. They have the ability to share joys and sorrows with film and television characters. The viewing of costume dramas leads to Chinese fever and star chasing behavior. In order to better spread costume drama, it can create contact opportunities for overseas audiences within the acceptable range of culture, reduce the cultural inaccuracy part of costume drama, provide background knowledge and provide quality dramas. Film and television works are an important way to tell Chinese stories. Story-based communication makes overseas audiences willing to learn about Chinese culture and history through film and television works. Swordsmen film is a folk hero myth in the Chinese world, similar to western cowboy in the United States and Bushido in Japan. Swordsmen films is the most complete in China film, and the most national characteristics of film type.In terms of TV dramas, costume dramas are rooted in traditional Chinese culture, displaying rich Chinese elements and carrying cultural symbols such as Chinese history, mythology, classical Musical Instruments, traditional costumes, architecture and Chinese food. They are unique types of dramas attracting overseas audiences with distinctive national characteristics.With the open, convenient, timely and effective features of the Internet, Chinese films and TV series have been released on overseas network platforms such as Netflix and YouTube, changing from passive communication to active communication. On YouTube, film and television organizations with copyright have opened channels to upload Chinese films and TV works.This study takes Tencent Video as the research object to analyze what efforts the online video platform has made for the spread of costume dramas? What are the comments of international audiences? How to improve the overseas communication effect of costume dramas?
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Mickūnas, Algis. "Resistance to Western Popular and Pop-Culture in India." Coactivity: Philosophy, Communication 25, no. 1 (March 27, 2017): 48–62. http://dx.doi.org/10.3846/cpc.2017.268.

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The essay is designed to present the phenomena of popular culture, its difference from pop culture, both products of modern West, and their impact on film and advertisement media in India. First, the discussion focuses on the Critical School which proposed the initial thesis of commodification of culture with a resultant “lowering” of standards to appeal to “the masses”, and an appeal to the “average” tastes. In the essay an argument is presented that pop culture is a “critique” of popular culture and is an elitist position attempting to shock popular mores and media content. Given this setting, it is argued that while India has followed both the globalizing popular and pop cultures, neither are adequate to encompass Indian media, specifically their film content.
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Saglier, Viviane. "Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation." Review of Middle East Studies 54, no. 2 (December 2020): 328–35. http://dx.doi.org/10.1017/rms.2021.7.

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What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.
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Hyde-Clarke, N. "“Beyond stereotypes”: representations of a foreign culture in film students’ productions." Literator 29, no. 2 (July 25, 2008): 149–68. http://dx.doi.org/10.4102/lit.v29i2.120.

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Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity, resulted in the launch of a student film production programme between three tertiary institutions in South Africa and Finland during the first half of 2006. The aim of the programme was to encourage students to produce films about a foreign culture that moved “beyond stereotypes” and reflected a greater understanding of that society. This article examines the production process, participants’ experience and analyses the final products that were produced in the nine weeks the students spent in Helsinki, Finland. To what extent can media productions, such as film, be devoid of stereotypes?
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Smirnov, Aleksei, and Olga Vladimirovna Bezzubova. ""School cinema" of the mid-1970s: "education of feelings" and love discourse (on the example of the film "One Hundred Days after childhood")." Культура и искусство, no. 11 (November 2022): 54–67. http://dx.doi.org/10.7256/2454-0625.2022.11.36792.

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The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.
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Dinihari, Yulian, Zuriyati Zuriyati, and Ninuk Lustyantie. "Javanese Cultural Values of the Yogyakarta Palace in the Film ‘Marak: Mresani Panji Sekar’." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 5, no. 2 (December 30, 2021): 178–87. http://dx.doi.org/10.30998/jh.v5i2.776.

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Film is one of the effective and popular media in cultural learning, both local and foreign cultures. The film that is used as the object of research by the researcher is the film 'Marak: Mresani Panji Sekar'”. This film becomes an interesting study material because it explains the Javanese culture of the courtiers of the Yogyakarta Palace who will focus more on culture in the film. This research uses descriptive qualitative research method. Analyzing cultural values by means of observation and study of documents in films in an effort to gain an overview and understanding of what is being studied. The values obtained are in the form of many values contained in it, namely the values of honor, trust, politeness, responsibility, and art. Describe the Javanese values of the Yogyakarta Palace which are shown in the film 'Marak: Mresani Panji Sekar' and reveal and understand the meaning contained in these traditional values.Keywords: Film, Values, Javanese Cultural
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Hereyah, Yoyoh. "Media Massa: Pencipta Industri Budaya Pencerahan yang Menipu Massa Studi Simulacra dan Hiperrealitas Film AVATAR." Jurnal ULTIMA Comm 3, no. 2 (December 1, 2011): 95–104. http://dx.doi.org/10.31937/ultimacomm.v3i2.204.

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Globalization affects virtually all aspects of the society, including cultural aspects. Culture can be defined as values embraced by society or perception held by citizens of various things. Globalization as a symptom of the range of the values and culture of particular overlooks the world (so that it becomes ‘world culture’) have been seen since long. The Film is a form of mass media that bring values, cultures and ideologi of his creator. The concept of cultivations of cultural values is embedded through the ideas, stories, characters, special effects and the distribution of a film. Avatar upholds the value and ideologi from its producers. Keywords: film studies, globalization, hegemony, hyperreality, simulacra
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Dissertations / Theses on the topic "Film and Media Culture"

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Hoare, Jonathan Giles. "Imperialism & 'alternative' film culture : the Empire Marketing Board film unit : 1926-1933." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/21827/.

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This thesis explores the early years of the British documentary movement as it formed within the Empire Marketing Board between 1926 and 1933. I begin by offering new insights into this formation by focusing on key institutions that have been under-researched in existing literature. The movement started with government money and resources, in a position formalised by the EMB's use of the Imperial Institute, a Victorian institution with an established history of public education, exhibition and research. Within this official institutional framework the EMB's filmmakers enjoyed an extraordinary level of creative freedom. They were simultaneously embedded within the'alternative' film culture that had developed from the independent screenings of the London Film Society (1925-1939). The Society offered coverage of the art and history of film for the first time in Britain, alongside showcasing a wealth of contemporaneous experimental and avant-Barde fiction and non-fiction work. Drawing on a variety of primary archival sources (some of which have not been previously explored) in the first three chapters I examine how the EMB's film unit developed in a relationship between the Board, the Imperial Institute and the Film Society. This position defined the work they produced, and the style and the content of their films for the EMB. The filmmakers were part of an Imperial discourse that aimed to promote Britain and the British Empire, however they were also engaging with, and contributing to, an international movement of filmmakers and intellectuals who were using documentary film to look closely at contemporary society from new perspectives. The fourth and fifth chapters offer fresh insights into filmmaking at the EMB, with a personal study based on new research into the life and work of Basil Wright. Although he was a central figure at the EMB, his role has remained under-researched. The material I present here offers a new account of the early formation of the documentary movement at the EMB and the original resources that the Board and its filmmakers drew upon.
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Haupt, Adam. "Stealing Empire : debates about global capital, counter-culture, technology and intellectual property." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8646.

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This thesis examines the agency of marginalised subjects in the context of global capitalism and the information age. The key question that is addressed is whether transnational corporations have appropriated aspects of cultural identity, creative expression and technological innovation for their own enrichment - to the detriment of civil society. Where this is the case, this thesis considers what opportunities exist for issuing challenges to the power of global corporations. Michael Hardt and Antonio Negri's concept of Empire provides the theoretical foundation for examining cultural, technological and legal conflicts between the interests of citizens and those of corporations. Hardt and Negri theorise the ways in which former imperial powers continue to extend their military, economic and political power in former colonies. The authors argue that former imperial powers no longer compete with each other for the same resources because they now co-operate with each other through multilateral organisations and trade agreements. Ultimately, the key beneficiaries of these modes of co-operation are global corporations that tend to monopolise the production and distribution of technological and cultural products at the expense of the public interest and the functioning of democracy. This work considers the possibilities of responding to Empire and resisting globalisation through strategies that employ some of the same decentralised, network-based techniques that benefit global corporate entities. Hardt and Negri's concept of 'the multitude' as a multiplicity of singularities makes sense of the diverse struggles under discussion in this study, providing the conceptual basis for possibilities of multiple engagements with Empire that are not reductive and that do not exclude certain interest groups. This is an interdisciplinary project that uses case studies to analyse the relationships between law and policy documents, technological development, and the production of cultural texts (such as hip-hop music). Specifically, this work explores the MP3 revolution and Napster (version one); digital sampling in hip-hop; hip-hop activism on South Africa's Cape Flats and these activists' use of new media in their pursuit of social justice. It addresses concerns about the commodification of youth culture as well as debates about intellectual property and the United States' use of trade agreements as enforcement mechanisms that serve the interests of its own corporations. This thesis presents an overview of copyright and trade agreements in order to examine the vested interests that underlie them. In keeping with the focus on globalisation and cultural imperialism, US legislation - such as the Digital Millennium Copyright Act - is discussed in relation to alternatives to proprietary approaches toward intellectual property, such as open source software and Creative Commons licenses.
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Sadegh-Vaziri, Persheng. "Iranian Documentary Film Culture: Cinema, Society, and Power 1997-2014." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/363567.

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Media & Communication
Ph.D.
Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed them. In this dissertation I explore how they engaged with different centers of power in order to create films that are relevant to their society. To focus this topic, my research explores media institutions, their filmmaking practices, and the strategies they use to produce and distribute their films. This research is important because it explores the inherent contradictions in the existence of a vibrant documentary film community in a country that is envisioned as uniformly closed and oppressive in the West. The research is also personally motivated, because I have close connections to the Iranian documentary film world, where I previously made films and produced television programs. I conduct the study with a multi-faceted approach, utilizing participant observation in the field in a four-month period, in-depth interviews with key players, personal reflections, and textual analysis of the films. I focus on about twenty filmmakers and their films, chosen from a pool of more than 500 documentary filmmakers, giving a cross section of this community based on their age, sex, and their professional history and success within Iran and internationally.
Temple University--Theses
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Viljoen, Estella. "New masculinities in a vernacular culture : a comparative analysis of two South African men's lifestyle magazines." Doctoral thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8129.

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This thesis chronicles the emergence of men's lifestyle magazines within South Africa between 1997 and 2007. It aims to contextualize the emergence of these magazines within the broader South African context and position each magazine as representing a nuanced masculine ideal to the mainstream male readers. This thesis then offers a critical reading of two more marginal men's lifestyle magazines, namely, MaksiMan (2001-2007) and BLINK (2004-2007).
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Aceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.

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This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives.
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Sachs, Aaron Dickinson. "The hip-hopsploitation film cycle: representing, articulating, and appropriating hip-hop culture." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/591.

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In this dissertation, I examine the articulation of hip-hop in the mid-1980s as it emerged onto the national stage of American popular culture. Using Articulation Theory, I weave together an argument explaining how and why hip-hop went from being articulated as a set of multicultural and inclusive practices, organized around breaking, graffiti, and DJing, to being articulated to a violent, misogynistic, and homophobic hyper-masculine representation of blackness as essentially rap music culture. In doing so I also argue that there are real political, social, racial, cultural, and ideological implications to this shift in articulation; that something is at stake in defining hip-hop as both black and rap music culture. I put forward this argument by making three distinct steps over the course of this dissertation. First, I identify a change in how hip-hop was represented and thus articulated in popular media. Through an intertextual analysis of the hip-hopsploitation genre films I show that early hip-hop was being represented primarily as a set of cultural practices cohering around breaking, graffiti, and DJing rather than the now dominant articulation as rap music culture. Next I set forth one possible reason for this shift within the limiting conditions set by the available media technologies and means of commodification. The visual nature of hip-hop's early articulation coupled with the economic inaccessibility of consumer home video made breaking and graffiti difficult to commodify compared to rapping as an aural element. Using "technological determinist" theorists like McLuhan, Innis, and Kittler, I argue that understanding how hip-hop as been historically constructed requires analyzing the limiting effect that the material conditions of media technologies have on the production of hip-hop. Finally, I offer a second, racial and cultural reason for this shift in articulation, and begin identifying some of the significance of this shift. A key aspect of the articulation of hip-hop as rap music is the further connection to blackness. This connection may function to maintain white patriarchal hegemony by displacing it on the black body via rap music: a complex dynamic of disidentification and appropriation.
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Kojo, Lovis. "Filmkritikens retorik : En kvalitativ studie av recensioner till hög- och populärkulturella filmverk." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-146647.

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The divide between popular culture and high culture has been a subject of discussion since the early days of media research. Even though popular culture has a somewhat higher status today than in the early 1900’s, the division between the two cultural forms still exists. For example, the movies that appeal to the great masses are rarely awarded the most prestigious European film prices. The aim of this study was to examine how these two cultural practices is separated in film reviews on the Swedish film site MovieZine with the use of the socio-cultural theories of Adorno, Horkheimer and Bourdieu. The main issues consisted of what types of rhetorical arguments the critics use to value the film, and what types of cultural references they make in the different reviews The selection of the movie reviews for this study was based on the ten most viewed movies in Swedish cinema in 2016, and ten movies that were awarded some of the most prestigious and refined American and European film prices in the same year. The general result showed that the film critics used different types of rhetorical arguments based on what type of films they reviewed. In their reviews of the more high cultural films, the citric based their arguments on matters that are considered to be of a more intellectual and analytical kind, than in the reviews of the films that appeal to the masses. The critics often referred to movies or other cultural phenomenon that could be placed on the same side of the cultural spectrum as the movies they reviewed.
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Shaw, Neil. "Culture and gentrification on upper Long street : a study of Long street's evolution and contemporary incarnation, with a look at documentary styles and the cinematic city." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7972.

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Konkle, Amanda. "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/28.

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Although Marilyn Monroe was one of the most famous American film stars, and a monumental cultural figure, her film work has been studied far less than her biography. Applying C.S. Peirce’s semiotic categories of icon, index, and symbol, this research explains how Monroe acquired meaning as an actress: Monroe was a powerful, but simplified, public image (an icon); an indicator of a particular historical and social context (an index); and an embodiment of significant cultural debates (a symbol). Analyzing Monroe as an icon reveals how her personal life, which contradicted her official publicity story, generated public sympathy and led to a perceived intimacy between the star and her fans. Monroe’s persona developed through her roles in films about marriage. We’re Not Married (1952) and Niagara (1953) expose the pitfalls of marriage. In response to fan criticism of Monroe’s aggressive persona in these films, however, Darryl F. Zanuck, in Gentlemen Prefer Blondes and How to Marry a Millionaire (1953), consciously distanced Monroe both from her aggressive persona and her implicit criticism of marriage. Monroe’s films, in particular, The Seven Year Itch (1955), Bus Stop (1956), and Some Like it Hot (1959), also revealed the tensions inherent in postwar understandings of female sexuality. Monroe’s role in her final completed film, The Misfits (1960), both acknowledges and resists her status as a symbol. This film unites Monroe’s screen persona and off-screen life in resistance to conventional values: her character embraces divorce, lives with a man who is not her husband, and openly criticizes men who betray trust. This film most extensively interweaves Monroe as an icon, an index, and a symbol. In so doing, it reveals how Monroe embodied the contradictions inherent in both postwar culture and Hollywood stardom.
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Cohen, Hart K. "From ethnographic film to indigenous media : communications and the evolution of the ethnographic subject." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75987.

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An important connection exists between ethnographic film and indigenous media though they are rarely linked in film theory. The link is not just hypothetical. Cast in the form of historiography, ethnographic film and indigenous media practices may be read as a continuist discourse with a number of critical turns. One such turn is the transformation of the ethnographic subject into a critical public. What is described as indigenous media allows us to categorize this transformation as a significant difference for the practice of ethnography, but the question remains as to whether this difference is retreivable in the terms set by ethnography. The emergence of the indigenous ethnographer has consequences for understanding the problems in the relations between Western and non-Western cultural formations. As a means through which a culture or nation may represent its own historical evolution, indigenous media is also, however, a discourse in formation--characterized by heterogenous claims and practices.
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Books on the topic "Film and Media Culture"

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Rocco, Dal Vera, ed. Film, broadcast & e-media coaching. New York: Applause, 2003.

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Peele, Thomas B., and Thomas B. Peele. Queer Popular Culture: Literature, media, film, and television. New York: Palgrave Macmillan, 2011.

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Peele, Thomas B. Queer Popular Culture: Literature, media, film, and television. New York: Palgrave Macmillan, 2011.

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Paulson, Sarah J., and Anders Skare Malvik, eds. Literature in Contemporary Media Culture. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/fillm.2.

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Peter, Lehman, ed. Pornography: Film and culture. New Brunswick, N.J: Rutgers University Press, 2006.

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Cinema of flames: Balkan film, culture and the media. London: British Film Institute, 2001.

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Framed: Lesbians, feminists, and media culture. Minneapolis: University of Minnesota Press, 2000.

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Myth, media, and culture in Star wars: An anthology. Lanham, Md: Scarecrow Press, 2012.

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Postcolonial masquerades: Culture and politics in literature, film, video, and photography. New York: Garland Pub., 2001.

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Ephemeral media: Transitory screen culture from television to YouTube. New York: Palgrave Macmillan, 2012.

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Book chapters on the topic "Film and Media Culture"

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Donald, Stephanie Hemelryk, and Noel Brown. "Children's Film Culture." In The Routledge International Handbook of Children, Adolescents, and Media, 93–100. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003118824-13.

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Parham, John. "‘Eco-Cinema’: Art Film and Documentary." In Green Media and Popular Culture, 177–204. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-00948-7_7.

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Parham, John. "Global and Eco-Cosmopolitan Film: ‘Muddled Middles’." In Green Media and Popular Culture, 38–66. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-00948-7_2.

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Edwards, Judith. "Film Projection and Projective Identification: Film as a Teaching Tool." In Media and the Inner World: Psycho-cultural Approaches to Emotion, Media and Popular Culture, 69–81. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137345547_5.

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Rieber, Robert W., and Robert J. Kelly. "Media and Film Influences on Popular Culture." In Film, Television and the Psychology of the Social Dream, 143–63. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-7175-2_7.

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Paulson, Sarah J. "Showing seeing across media." In Literature in Contemporary Media Culture, 237–59. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/fillm.2.12pau.

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Thomson, C. Claire. "“It All Comes from Beer”: Tuborg, Carlsberg, and the Role of Film in Danish Cultural Diplomacy." In Nordic Media Histories of Propaganda and Persuasion, 55–71. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05171-5_3.

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AbstractIt All Comes from Beer is the title of a 1952 short film, commissioned by Carlsberg to showcase its philanthropic contributions to science and art in Denmark to anglophone viewers. But Carlsberg and its rival brewery, Tuborg, used film at least a quarter-century earlier as “propaganda”, not just for their beer but also for the culture, industry, and landscape of their home country. The case studies in this chapter show how inter-war film genres such as tourist films, promotional footage, educational films, and even science films tended to overlap and merge, depending on where they travelled and to which audiences they were screened. The movement of films and of the material culture (from beer glasses to science equipment) that accompanied them facilitated an entrepreneurial form of cultural diplomacy on Denmark’s behalf.
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Bernard, Mark. "Disorderly Eating and Eating Disorders: The Demonic Possession Film as Anorexia Allegory." In Food, Media and Contemporary Culture, 164–82. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137463234_10.

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Eliassen, Knut Ove. "Media ecology in the literal sense." In Literature in Contemporary Media Culture, 79–101. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/fillm.2.05eli.

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Batty, Craig. "You Are What You Eat: Film Narratives and the Transformational Function of Food." In Food, Media and Contemporary Culture, 27–43. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137463234_3.

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Conference papers on the topic "Film and Media Culture"

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Ditta, Geoffrey. "Culture and Human Resource Management: Understanding Communication in the Ages of Globalization." In The European Conference on Media, Communication & Film 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-9643.2021.7.

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Ditta, Geoffrey. "Culture and Human Resource Management: Understanding Communication in the Ages of Globalization." In The European Conference on Media, Communication & Film 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-9643.2021.7.

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Sporton, Gregory, and Elizabeth Allen. "Focussing on the Critical: Film Pedagogy in the Modern University." In The Kyoto Conference on Arts, Media and Culture 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2436-0503.2022.15.

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Yang, Xiaofei, and Zhuying Li. "A Shifting Gender Regime in Contemporary China? Fans’ Queer Readings of the Film Ne Zha." In – The Barcelona Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2435-9475.2020.4.

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Stanova, Irina. "Decomposing the Stereotypes: East-West Dichotomy in the Film Adaptations of W. S. Maugham’s the Painted Veil." In The Barcelona Conference on Arts, Media & Culture 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2435-9475.2022.18.

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Feng, Wen. "The Integration and Upgrade of the New Media Era and the Film Industry." In 2nd International Conference on Language, Communication and Culture Studies (ICLCCS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211025.042.

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Ali, Mohd Nor Shahizan. "Once Media Texts Meets Realism through Experimental Short Film." In Proceedings of the First International Conference on Communication, Language, Literature, and Culture, ICCoLLiC 2020, 8-9 September 2020, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.8-9-2020.2301321.

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Peláez-Barceló, Antonio. "Cultural Diversity in Film Festivals – A Case Study: Glocal in Progress, San Sebastián International Film Festival." In The European Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-9643.2020.1.

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Arts, Mara. "Using Newspapers and Films as Tools for Cultural History Research." In The European Conference on Media, Communication & Film 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-9643.2021.1.

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Peng, Guobin, Xudong Pi, and Jiajia Zhang. "Research on Poverty Alleviation Path of Film and Television Design in the Context of Media Convergence." In 2021 International Conference on Culture-oriented Science & Technology (ICCST). IEEE, 2021. http://dx.doi.org/10.1109/iccst53801.2021.00044.

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Reports on the topic "Film and Media Culture"

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Zhou, Hong, Aaron Mack, Gitanjali Talreja, Josia Assmies, Stefan Minning, Andreas Unsoeld, John Bobiak, et al. BEST PRACTICE GUIDE FOR PREPARATION OF CELL CULTURE MEDIA SOLUTION. BioPhorum, April 2021. http://dx.doi.org/10.46220/2021ds001.

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Talreja, Gitanjali, Amandine Calvet, Cheryl Fuchs, Nadya Morales-Cumming, Mary Szorik, Divya Vasudevan, Alaric Collins, et al. Media fingerprinting of cell culture media a standardized analytical test method suite and three-tier approach. BioPhorum, November 2022. http://dx.doi.org/10.46220/2022ds006.

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Zook, Justin M., Robert MacCuspie, John T. Elliott Jr., and Elijah J. Petersen. Reliable preparation of nanoparticle agglomerates of different sizes in cell culture media. National Institute of Standards and Technology, June 2015. http://dx.doi.org/10.6028/nist.sp.1200-14.

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Martínez Sanz, R., O. Islas Carmona, M. Redondo García, and E. Campos Domínguez. Communication professorship: access, consumption and media culture. A comparative study of Spain and Mexico. Revista Latina de Comunicación Social, April 2016. http://dx.doi.org/10.4185/rlcs-2016-1099en.

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Mayer, S. T., and R. H. Muller. An in situ study of the anodic film formation of Cu, Ag, and Zn in alkaline media. Office of Scientific and Technical Information (OSTI), December 1989. http://dx.doi.org/10.2172/7020740.

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Holmes, Aimee E., Landon H. Sego, Bobbie-Jo M. Webb-Robertson, Helen W. Kreuzer, Richard M. Anderson, Stephen D. Unwin, Mark R. Weimar, Mark F. Tardiff, and Courtney D. Corley. An Approach for Assessing the Signature Quality of Various Chemical Assays when Predicting the Culture Media Used to Grow Microorganisms. Office of Scientific and Technical Information (OSTI), February 2013. http://dx.doi.org/10.2172/1077996.

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Tom, Eileen. Social Constructs in Film Culture: The Effect of it on the Performing Arts, and the Destroyed Association of Signs to Enhance Meaning. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.53.

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Winseck, Dwayne. Growth and Upheaval in the Network Media Economy in Canada, 1984-2021. Canadian Media Concentration Research Project (CMCRP), November 2022. http://dx.doi.org/10.22215/gmicp/2022.01.

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The Canadian contribution and data set prepared as part of the Global Media and Internet Concentration (GMIC) project offers an independent academic, empirical and data-driven analysis of a deceptively simple yet profoundly important question: have telecom, media and internet markets become more concentrated over time, or less? Media Ownership and Concentration is presented from more than a dozen sectors of the telecom-media-internet industries, including film, music and book industries.
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Pryt, Karina. Polish-German film relations in the process of building German cultural hegemony in Europe 1933-1939. Universitätsbibliothek Johann Christian Senckenberg, December 2022. http://dx.doi.org/10.21248/gups.70888.

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The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological terms, it belongs to cultural diplomacy and adds simultaneously to film history and New Cinema History.
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Melnyk, Iurii. JUSTIFICATION OF OCCUPATION IN GERMAN (1938) AND RUSSIAN (2014) MEDIA: SUBSTITUTION OF AGGRESSOR AND VICTIM. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11101.

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The article is dedicated to the examination and comparison of the justification of occupation of a neighboring country in the German (1938) and Russian (2014) media. The objective of the study is to reveal the mechanics of the application of the classical manipulative method of substituting of aggressor and victim on the material of German and Russian propaganda in 1938 and in 2014 respectively. According to the results of the study, clear parallels between the two information strategies can be traced at the level of the condemnation of internal aggression against a national minority loyal to Berlin / Moscow and its political representative (the Sudeten Germans – the pro-Russian Ukrainians, as well as the security forces of the Yanukovych regime); the reflections on dangers that Czechoslovakia / Ukraine poses to itself and to its neighbors; condemnation of the violation of the cultural rights of the minority that the occupier intends to protect (German language and culture – Russian language and culture); the historical parallels designed to deepen the modern conflict, to show it as a long-standing and a natural one (“Hussites” – “Banderites”). In the manipulative strategy of both media, the main focus is not on factual fabrication, but on the bias selection of facts, due to which the reader should have an unambiguous understanding of who is the permanent aggressor in the conflict (Czechoslovakia, Czechs – Ukraine, Ukrainians), and who is the permanent victim (Germans – Russians, Russian speakers). The substitution of victim and aggressor in the media in both cases became one of the most important manipulative strategies designed to justify the German occupation of part of Czechoslovakia and the Russian occupation of part of Ukraine.
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