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Books on the topic 'Viedo consumption'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Library, Washington State Energy Office. Energy matters: Video and film catalog. Olympia, WA (PO Box 43165, Olympia 98504-3165): Washington State Energy Office, 1992.

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2

McDuie-Ra, Duncan. Skateboarding and Urban Landscapes in Asia. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723138.

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As urban development in Asia has accelerated, cities in the region have become central to skateboarding culture, livelihoods, and consumption. Asia's urban landscapes are desired for their endless supply of 'spots'. Spots are not built for skateboarding; they are accidents of urban planning and commercial activity; glitches in the urban machine. Skateboarders and filmers chase these spots to make skate video, skateboarding's primary cultural artefact. Once captured, skate video circulates rapidly through digital platforms to millions of viewers, enrolling spots from Shenzhen to Ramallah into an alternative cartography of Asia. This book explores this way of desiring and consuming urban Asia, and the implications for relational and comparative hierarchies of urban development.

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3

Bode, Mike. Off the grid. Göteborg: Valand School of Fine Arts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2008.

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4

Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

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5

Video Game Policy: Production, Distribution, and Consumption. Taylor & Francis Group, 2015.

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6

deWinter, Jennifer, and Steven Conway. Video Game Policy: Production, Distribution, and Consumption. Taylor & Francis Group, 2017.

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7

deWinter, Jennifer, and Steven Conway. Video Game Policy: Production, Distribution, and Consumption. Taylor & Francis Group, 2015.

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8

deWinter, Jennifer, and Steven Conway. Video Game Policy: Production, Distribution, and Consumption. Taylor & Francis Group, 2015.

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9

deWinter, Jennifer, and Steven Conway. Video Game Policy: Production, Distribution, and Consumption. Taylor & Francis Group, 2015.

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10

Ben, Fine, ed. Consumption norms, diffusion and the video/microwave syndrome. London: Department of Economics, School of Oriental and African Studies, University of London, 1992.

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11

Hearsum, Paula, and Ian Inglis. The Emancipation of Music Video. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.031.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Although YouTube is rightly acknowledged as one of the pivotal forms of social networking to have emerged in the last decade, relatively little attention has been paid to its specific impact on the form and content of music video. From its tentative beginnings in the 1970s, music video quickly established itself as one of the principal—and most powerful—components of the popular music industry. This chapter examines the ways in which the creative opportunities provided by YouTube’s overt democratization of modes of video production, presentation, and consumption have had economic, aesthetic, and political repercussions on popular music practices and have fundamentally shifted traditional understandings of supply and demand.

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12

Barradas Jorge, Nuno. ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.001.0001.

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This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics. Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker – as well as of the multifaceted production and consumption practices that surround contemporary art cinema.

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13

Bickford, Tyler. Intimate Media In and Out of the Classroom. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.003.0005.

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This chapter considers how girls and boys view the conflict between media consumption and learning in class, focusing on uses of portable media in classroom that take place mostly in secret in the classroom. It compares listening practices in school and at home to bring the institutional structure of kids’ listening practices into relief, and it compares kids uses of portable video gamed devices with MP3 players to explore the gendering of kids’ media consumption. The contrast between discourses of “multitasking” that are volunteered differently by boys and girls suggest that each group sees the fine-grained details of their media interactions as deeply tied up in their social identities in school.

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14

The White Savior Film Content Critics And Consumption. Temple University Press,U.S., 2014.

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15

Mex-Ciné: Mexican Filmmaking, Production, and Consumption in the Twenty-first Century. University of Michigan Press, 2013.

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16

Hughey, Matthew W., and Emma González-Lesser, eds. Racialized Media. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479811076.001.0001.

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This book examines the design (imagining and producing), delivery (distribution, gatekeeping, and cultural mediation), and decoding (reception, consumption, and debate) of varied genres and styles of contemporary racialized media. In line with what the late great media sociologist Stuart Hall called the “circuit of culture,” the authors herein collectively analyze, first, the production side of imagining and encoding ideological meanings and narratives, the material structures, the people involved, and global political economy of media; second, the arena of distribution in which marketing strategies, gatekeeping traditions, laws and policies, and professional customs structure where and how media is framed; and third, the practices of consumption whereby audience receive, interpret, and debate racialized media. Despite pronouncements that we have reached a “postracial” or “colorblind” society or that racial—and racist—meanings are only the domains of extremist activism and political rhetoric, we demonstrate how dominant racial meanings are deployed, negotiated, and contested in the behind-the-scenes productive activity with, distributive processes regarding, and consumer reactions to racialized media. The chapters highlight the multidirectional influences between media, the racialized climate of politics and culture, reverberations of media meanings in society, and experiences of media consumption along the lines of race, class, and gender positionalities. To analyze these complex relationships, contributing authors utilize various forms of media, including film, television, books, newspapers, social media, video games, and comics, among others.

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17

Thomas, Philippa. Single Ladies, Plural. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.019.

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This chapter seeks to explore how cultural texts disseminated online are made and remade, challenged and championed by audiences, with the mutability inherent to all texts becoming highly visible in this environment. The entry point of this inquiry is the music video accompanying Beyoncé Knowles’s 2008 hitSingle Ladies (Put a Ring on It), which quickly became an Internet phenomenon, spawning numerous homages, parodies, and reinterpretations. Additionally, this popular cultural phenomenon was the subject of a social media scandal invoking issues of racism, “authenticity,” appropriation, the democratization of technology, and “expert knowledge.” This chapter will touch on a few key moments of online engagement with this event in order to try to flesh out the tangled politics inherent in cultural consumption, participation, and online identity building.

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18

Brown, Matthew H. Indirect Subjects. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021506.

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In Indirect Subjects, Matthew H. Brown analyzes the content of the prolific Nigerian film industry's mostly direct-to-video movies alongside local practices of production and circulation to show how screen media play spatial roles in global power relations. Scrutinizing the deep structural and aesthetic relationship between Nollywood, as the industry is known, and Nigerian state television, Brown tracks how several Nollywood films, in ways similar to both state television programs and colonial cinema productions, invite local spectators to experience liberal capitalism not only as a form of exploitation but as a set of expectations about the future. This mode of address, which Brown refers to as “periliberalism,” sustains global power imbalances by locating viewers within liberalism but distancing them from its processes and benefits. Locating the wellspring of this hypocrisy in the British Empire's practice of indirect rule, Brown contends that culture industries like Nollywood can sustain capitalism by isolating ordinary African people, whose labor and consumption fuel it, from its exclusive privileges.

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19

Hayden, Craig. Entertainment Technologies. Oxford University Press, 2018. http://dx.doi.org/10.1093/acrefore/9780190846626.013.386.

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Entertainment technologies are not new, and neither is their relevance for international studies. As studies evidence, the impact of entertainment technologies is often visible at the intersection of “traditional” international relations concerns, such as national security, political economy, and the relation of citizens to the nation-state, and new modes of transnational identity and social action. Thus the study of entertainment technologies in the context of international studies is often interdisciplinary—both in method and in theoretical framework. Moreover, the production, regulation, and dissemination of these technologies have been at the center of controversies over the flow of news and cultural products since the dawn of popular communication in the nineteenth century. These entertainment technologies include video games, virtual worlds and online role-playing games, recreational social networking technologies, and, to a lesser degree, traditional mass communication outlets. In addition, there are two primary emphases in the scholarly treatment of entertainment technologies. At the level of audience consumption and participation, media outlets considered as entertainment technologies can be discussed as means for acquiring information and cultivating attitudes, and as a “space” for interaction. At the more “macro” level of social relations and production, representation can work to reinforce modes of belonging, identity, and attitudes.

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20

Santiago Iglesias, José Andrés, and Ana Soler Baena, eds. Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbp.

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Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses. First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The initial series used already available conventions, visual resources and narrative tropes typical of anime in general and the mecha (or giant-robot) genre in particular, but at the same time it subverted and reinterpreted them in a highly innovative and as such standard-setting way. Investigating anime through Neon Genesis Evangelion this volume takes a broadly understood media-aesthetic and media-cultural perspective, which pertains to medium in the narrow sense of technology, techniques, materials, and semiotics, but also mediality and mediations related to practices and institutions of production, circulation, and consumption. In no way intended to be exhaustive, this volume attests to the emergence of anime studies as a field in its own right, including but not prioritizing expertise in film studies and Japanese studies, and with due regard to the most widely shared critical publications in Japanese and English language. Thus, the volume provides an introduction to studies of anime, a field that necessarily interrelates media-specific and transmedial aspects. In Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion, anime is addressed from a transnational and transdisciplinary stance. The disciplinary and methodological perspectives taken by the individual chapters range from audio-visual culture, narratology, performance and genre theory to fandom studies and gender studies. In its first part, the book focuses on textual analysis and media form in the narrow sense with regard to filmic media, bank footage, voice acting and musical score, and then it broadens the scope to consider subcultural discourse, franchising, manga and video game adaptations, as well as critical and affective user engagement.

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