Joshua Green – författare

The instant #1 New York Times bestseller.From the reporter who was there at the very beginning comes the revealing inside story of the partnership between Steve Bannon and Donald Trump—the key to understanding the rise of the alt-right, the fall of Hillary Clinton, and the hidden forces that drove the greatest upset in American political history. Based on dozens of interviews conducted over six years, Green spins the master narrative of the 2016 campaign from its origins in the far fringes of right-wing politics and reality television to its culmination inside Trump’s penthouse on election night. The shocking elevation of Bannon to head Trump’s flagging presidential campaign on August 17, 2016, hit political Washington like a thunderclap and seemed to signal the meltdown of the Republican Party. Bannon was a bomb-throwing pugilist who’d never run a campaign and was despised by Democrats and Republicans alike.  Yet Bannon’s hard-edged ethno-nationalism and his elaborate, years-long plot to destroy Hillary Clinton paved the way for Trump’s unlikely victory. Trump became the avatar of a dark but powerful worldview that dominated the airwaves and spoke to voters whom others couldn’t see. Trump’s campaign was the final phase of a populist insurgency that had been building up in America for years, and Bannon, its inscrutable mastermind, believed it was the culmination of a hard-right global uprising that would change the world. Any study of Trump’s rise to the presidency is unavoidably a study of Bannon. Devil’s Bargain is a tour-de-force telling of the remarkable confluence of circumstances that decided the election, many of them orchestrated by Bannon and his allies, who really did plot a vast, right-wing conspiracy to stop Clinton. To understand Trump''s extraordinary rise and Clinton’s fall, you have to weave Trump’s story together with Bannon’s, or else it doesn''t make sense.

YouTube is one of the most well-known and widely discussed sites of participatory media in the contemporary online environment, and it is the first genuinely mass-popular platform for user-created video. In this timely and comprehensive introduction to how YouTube is being used and why it matters, Burgess and Green discuss the ways that it relates to wider transformations in culture, society and the economy. The book critically examines the public debates surrounding the site, demonstrating how it is central to struggles for authority and control in the new media environment. Drawing on a range of theoretical sources and empirical research, the authors discuss how YouTube is being used by the media industries, by audiences and amateur producers, and by particular communities of interest, and the ways in which these uses challenge existing ideas about cultural ‘production’ and ‘consumption’. Rich with both concrete examples and featuring specially commissioned chapters by Henry Jenkins and John Hartley, the book is essential reading for anyone interested in the contemporary and future implications of online media. It will be particularly valuable for students and scholars in media, communication and cultural studies.

Since launching as a website for everyday video-sharing in 2005, YouTube has become one of the world’s most powerful digital media platforms. Originally published in 2009 when YouTube was only four years old, this book was the first to systematically investigate its cultural impacts and politics, highlighting the productive tensions between its amateur community rhetoric and its commercial media logics. Since then, YouTube has grown as a platform and matured as a company. Its business model is built on coordinating the interests of and extracting value from its content creators, audiences, advertisers and media partners, in a commercial setting where YouTube now competes with other powerful social media and streaming television platforms. Meanwhile, YouTube’s diverse communities of content creators, who developed the platform’s most distinctive cultural forms and genres, have strong ideas and interests of their own.While preserving the original edition’s forensic analysis of YouTube’s early popular culture and uses, this fully revised and updated edition weaves fresh examples, updated theoretical perspectives and comparative historical insights throughout each of its six chapters. Burgess and Green show how, over its more than a decade of existence, YouTube’s dual logics of commerciality and community have persisted, generating new genres of popular culture, new professional identities and business models for the media industries, and giving rise to ongoing platform governance challenges. The book is essential reading for anyone interested in the contemporary and future implications of digital media platforms and will be particularly valuable for students and scholars in media, communication and cultural studies.

Since launching as a website for everyday video-sharing in 2005, YouTube has become one of the world’s most powerful digital media platforms. Originally published in 2009 when YouTube was only four years old, this book was the first to systematically investigate its cultural impacts and politics, highlighting the productive tensions between its amateur community rhetoric and its commercial media logics. Since then, YouTube has grown as a platform and matured as a company. Its business model is built on coordinating the interests of and extracting value from its content creators, audiences, advertisers and media partners, in a commercial setting where YouTube now competes with other powerful social media and streaming television platforms. Meanwhile, YouTube’s diverse communities of content creators, who developed the platform’s most distinctive cultural forms and genres, have strong ideas and interests of their own.While preserving the original edition’s forensic analysis of YouTube’s early popular culture and uses, this fully revised and updated edition weaves fresh examples, updated theoretical perspectives and comparative historical insights throughout each of its six chapters. Burgess and Green show how, over its more than a decade of existence, YouTube’s dual logics of commerciality and community have persisted, generating new genres of popular culture, new professional identities and business models for the media industries, and giving rise to ongoing platform governance challenges. The book is essential reading for anyone interested in the contemporary and future implications of digital media platforms and will be particularly valuable for students and scholars in media, communication and cultural studies.

How sharing, linking, and liking have transformed the media and marketing industries Spreadable Media is a rare inside look at today's ever-changing media landscape. The days of corporate control over media content and its distribution have been replaced by the age of what the digital media industries have called "user-generated content." Spreadable Media maps these fundamental changes, and gives readers a comprehensive look into the rise of participatory culture, from internet memes to presidential tweets. The authors challenge our notions of what goes "viral" and how by examining factors such as the nature of audience engagement and the environment of participation, and by contrasting the concepts of "stickiness"—aggregating attention in centralized places—with "spreadability"—dispersing content widely through both formal and informal networks. The former has often been the measure of media success in the online world, but the latter describes the actual ways content travels through social media. The book explores the internal tensions businesses face as they adapt to this new, spreadable, communication reality and argues for the need to shift from "hearing" to "listening" in corporate culture. Now with a new afterword addressing changes in the media industry, audience participation, and political reporting, and drawing on modern examples from online activism campaigns, film, music, television, advertising, and social media—from both the US and around the world—the authors illustrate the contours of our current media environment. For all of us who actively create and share content, Spreadable Media provides a clear understanding of how people are spreading ideas and the implications these activities have for business, politics, and everyday life, both on- and offline.

How sharing, linking, and liking have transformed the media and marketing industries Spreadable Media is a rare inside look at today's ever-changing media landscape. The days of corporate control over media content and its distribution have been replaced by the age of what the digital media industries have called "user-generated content." Spreadable Media maps these fundamental changes, and gives readers a comprehensive look into the rise of participatory culture, from internet memes to presidential tweets. The authors challenge our notions of what goes "viral" and how by examining factors such as the nature of audience engagement and the environment of participation, and by contrasting the concepts of "stickiness"—aggregating attention in centralized places—with "spreadability"—dispersing content widely through both formal and informal networks. The former has often been the measure of media success in the online world, but the latter describes the actual ways content travels through social media. The book explores the internal tensions businesses face as they adapt to this new, spreadable, communication reality and argues for the need to shift from "hearing" to "listening" in corporate culture. Now with a new afterword addressing changes in the media industry, audience participation, and political reporting, and drawing on modern examples from online activism campaigns, film, music, television, advertising, and social media—from both the US and around the world—the authors illustrate the contours of our current media environment. For all of us who actively create and share content, Spreadable Media provides a clear understanding of how people are spreading ideas and the implications these activities have for business, politics, and everyday life, both on- and offline.

Since launching as a website for everyday video-sharing in 2005, YouTube has become one of the world’s most powerful digital media platforms. Originally published in 2009 when YouTube was only four years old, this book was the first to systematically investigate its cultural impacts and politics, highlighting the productive tensions between its amateur community rhetoric and its commercial media logics. Since then, YouTube has grown as a platform and matured as a company. Its business model is built on coordinating the interests of and extracting value from its content creators, audiences, advertisers and media partners, in a commercial setting where YouTube now competes with other powerful social media and streaming television platforms. Meanwhile, YouTube’s diverse communities of content creators, who developed the platform’s most distinctive cultural forms and genres, have strong ideas and interests of their own. While preserving the original edition’s forensic analysis of YouTube’s early popular culture and uses, this fully revised and updated edition weaves fresh examples, updated theoretical perspectives and comparative historical insights throughout each of its six chapters. Burgess and Green show how, over its more than a decade of existence, YouTube’s dual logics of commerciality and community have persisted, generating new genres of popular culture, new professional identities and business models for the media industries, and giving rise to ongoing platform governance challenges. The book is essential reading for anyone interested in the contemporary and future implications of digital media platforms and will be particularly valuable for students and scholars in media, communication and cultural studies.

Finalist, New Brunswick Book Award (Non-Fiction)The photographs of George Taylor (1838-1913) offer viewers a fascinating glimpse into nineteenth-century New Brunswick. Taylor's career coincided with a period when photographers began to provide Canadians with images of the "wilderness." Drawing on the knowledge and expertise of Indigenous guides, Taylor travelled not only through settled parts of New Brunswick, but also into the wilderness of the north, providing views of hitherto unfamiliar and unknown terrain and helping to popularize the outdoors as a venue for canoeing, hunting and fishing.Taylor's work is also a record of rural and farm life on the rich floodplains and intervals of the Saint John River valley, of daily life in Fredericton, and of the large-scale expansion of railways in the province. Captured in the "slow seconds" of his camera, George Taylor's photographs illumined landscapes, people, and the seismic changes taking place at the cusp of the new century.The first book of Taylor's photographs, Slow Seconds presents a curated selection of one hundred photographs together with an account of the beginnings of photography and Taylor's life and work.

De sociala medierna och nätverkskulturen håller på att förändra medielandskapet radikalt. Förändringen ställer olika aktörer ? inklusive vanliga Facebookanvändare och twittrare ? inför en rad besvärliga frågor som har med tolkningsföreträde, kontrollmöjligheter och moraliska gränsdragningar att göra. Därtill kommer att gränsen mellan att vara mediekonsument och medieaktör aldrig har varit så genomsläpplig som idag. Tänk till exempel på bestsellern "Femtio nyanser av honom", som ursprungligen publicerades som ?fan fiction? på nätet, eller "Mad Men"-karaktärernas spontant skapade bloggversioner. Medieforskarna Henry Jenkins, Sam Ford och Joshua Green tar i "Spridbar media" ett brett grepp om den här processen och belyser den ur en rad olika perspektiv. Boken handlar naturligt nog om sådant som medieekonomi, företagskulturer, distributionsformer och rättighetsfrågor. Men den handlar också ? och framför allt ? om vanliga människors möjligheter att påverka mediemiljön genom sin egen aktivitet. Om det vi direkt eller indirekt kan åstadkomma när vi delar någonting till våra Facebookvänner eller i vårt twitterflöde eller engagerar oss i specifika intressegemenskaper på nätet. Bokens författare vill få oss att överge diverse förenklade ? men seglivade ? föreställningar om hur medier fungerar och istället börja reflektera över deras komplexitet och över ?spridbarhetens? roll. Kort sagt stimulera till nytänkande på området. Henry Jenkins är Provost?s Professor of Communication, Journalism, Cinematic Arts, and Education vid University of Southern California. Han har tidigare publicerat bland annat "Konvergenskulturen" (Daidalos 2008). Sam Ford är Director of Digital Strategy vid Peppercomm Strategic Communications och knuten till MIT:s Program in Comparative Media Studies och Western Kentucky University:s Popular Culture Studies Program. Joshua Green är strateg vid Undercurrent, en byrå för ditigala strategier i New York. Han har en doktorsexamen i mediestuder och har tidigare varit involverad i medieforskning vid bland annat University of Southern California och MIT.