Media Studies – serie

Covering the Courts shows how writers and journalists deal with present-day major trials, such as those involving Timothy McVeigh and O.J. Simpson. The volume features such outstanding contributors as Linda Deutsch and Fred Graham, and provides an in-depth look at the performance of the court in an age of heightened participation by reporters, camera operators, social scientists, major moguls of network radio and television, and advocates of special causes.The volume does far more than discuss specific cases. Indeed, it is a major tool in the study of the new relationships between a free press and a fair trial. Interestingly, a consensus is described in which the parties involved in efforts to balance freedom of the press and the right to a fair trial are moving in tandem. In this regard, sensitive issues ranging from the universality of law to the particularity of racial, religious, and gender claims, are explored with great candor.The volume also turns the intellectual discourse to its major players: the members of the press, the lawyers, and the judiciary. Has there been a shift from reporting functions to entertainment values? Does television and live presentation shift the burden from the contents of a case to the photogenic and star quality of players? What excites and intrigues the public: serious disturbances to the peace and mass mayhem, such as the Oklahoma bombings or sexual adventures of entertainment and sports figures? The findings are sometimes disturbing, but the reading is never dull. This book will be of interest to journalists, lawyers, and the interested general public.This volume is the latest in the Transaction Media Studies Series edited by Everette E. Dennis, dean of the school of communication at Fordham University. The volume itself is edited by Robert Giles, the editor, and Robert W. Snyder, the managing editor, of Media Studies Journal. The original contributions were initially presented at The Freedom Forum and its Media Studies Center.

The relationship between China and the United States has been marked by a lack of mutual comprehension that stretches from America's missionary paternalism in the early twentieth century to the fears and fascinations of the present. Throughout the twentieth century China has attracted the attention of American journalists, from the first China hands who covered an ancient country lurching into the modern world, to the chroniclers of World War II and the Chinese civil war, to the reporters who today explore the contradictions of China's economy. Covering China looks at the questions, concerns, and conceptions of all the generations of American reporters against the backdrop of Chinese history and China's own media.Covering China is divided into three sections. "Histories" takes up the events, anniversaries, and processes that have shaped Chinese and American media coverage over the century. Included here are chapters focusing on the civil war and analyzing American reporting in the 1930s and 1940s in their many viewpoints, as well as in the decades when China was closed to American journalists. Other chapters consider the influence on journalism of various political movements from the anti-Western May 4th movement of 1918 to the Tiananmen Square protests of 1989. "Communicating" explores the challenges of explaining China to Americans and America to the Chinese. Among the topics covered here are the Chinese media reaction to the Clinton scandal, the status of Hong Kong as a window between China and the West, Communist efforts to control public opinion in the media, and the pioneering role of Pearl S. Buck in interpreting China for American readers. The concluding section, "Issues," examines important stories now emerging in China that will matter to both journalists and China watchers, including the changing roles of Chinese women, little-covered instances of ethnic unrest, and the complexities of economic and environmental stories.The variety of points of view expressed in Covering China is a testament to the vigor of contemporary writing on China. As one contributor notes, American media coverage of China needs to challenge existing assumptions and be ready for the unexpected. By doing so, journalists can minimize the sense of shock that erupts in America at each swing of Chinese history. Covering China will be of interest to China area specialists, journalists, and cultural historians.Robert W. Snyder is managing editor of the Media Studies Journal, a historian, and author of Transit Talk: New York's Bus and Subway Workers Tell Their Stories. He has taught at Princeton University and New York University.

The relationship between China and the United States has been marked by a lack of mutual comprehension that stretches from America's missionary paternalism in the early twentieth century to the fears and fascinations of the present. Throughout the twentieth century China has attracted the attention of American journalists, from the first China hands who covered an ancient country lurching into the modern world, to the chroniclers of World War II and the Chinese civil war, to the reporters who today explore the contradictions of China's economy. Covering China looks at the questions, concerns, and conceptions of all the generations of American reporters against the backdrop of Chinese history and China's own media.Covering China is divided into three sections. "Histories" takes up the events, anniversaries, and processes that have shaped Chinese and American media coverage over the century. Included here are chapters focusing on the civil war and analyzing American reporting in the 1930s and 1940s in their many viewpoints, as well as in the decades when China was closed to American journalists. Other chapters consider the influence on journalism of various political movements from the anti-Western May 4th movement of 1918 to the Tiananmen Square protests of 1989. "Communicating" explores the challenges of explaining China to Americans and America to the Chinese. Among the topics covered here are the Chinese media reaction to the Clinton scandal, the status of Hong Kong as a window between China and the West, Communist efforts to control public opinion in the media, and the pioneering role of Pearl S. Buck in interpreting China for American readers. The concluding section, "Issues," examines important stories now emerging in China that will matter to both journalists and China watchers, including the changing roles of Chinese women, little-covered instances of ethnic unrest, and the complexities of economic and environmental stories.The variety of points of view expressed in Covering China is a testament to the vigor of contemporary writing on China. As one contributor notes, American media coverage of China needs to challenge existing assumptions and be ready for the unexpected. By doing so, journalists can minimize the sense of shock that erupts in America at each swing of Chinese history. Covering China will be of interest to China area specialists, journalists, and cultural historians.Robert W. Snyder is managing editor of the Media Studies Journal, a historian, and author of Transit Talk: New York's Bus and Subway Workers Tell Their Stories. He has taught at Princeton University and New York University.

Covering the Courts shows how writers and journalists deal with present-day major trials, such as those involving Timothy McVeigh and O.J. Simpson. The volume features such outstanding contributors as Linda Deutsch and Fred Graham, and provides an in-depth look at the performance of the court in an age of heightened participation by reporters, camera operators, social scientists, major moguls of network radio and television, and advocates of special causes.The volume does far more than discuss specific cases. Indeed, it is a major tool in the study of the new relationships between a free press and a fair trial. Interestingly, a consensus is described in which the parties involved in efforts to balance freedom of the press and the right to a fair trial are moving in tandem. In this regard, sensitive issues ranging from the universality of law to the particularity of racial, religious, and gender claims, are explored with great candor.The volume also turns the intellectual discourse to its major players: the members of the press, the lawyers, and the judiciary. Has there been a shift from reporting functions to entertainment values? Does television and live presentation shift the burden from the contents of a case to the photogenic and star quality of players? What excites and intrigues the public: serious disturbances to the peace and mass mayhem, such as the Oklahoma bombings or sexual adventures of entertainment and sports figures? The findings are sometimes disturbing, but the reading is never dull. This book will be of interest to journalists, lawyers, and the interested general public.This volume is the latest in the Transaction Media Studies Series edited by Everette E. Dennis, dean of the school of communication at Fordham University. The volume itself is edited by Robert Giles, the editor, and Robert W. Snyder, the managing editor, of Media Studies Journal. The original contributions were initially presented at The Freedom Forum and its Media Studies Center.

Desire indicates phenomena that are implicated in a productive ambiguity. These phenomena associate basic elements of human coexistence, while also referencing complex social processes and institutions. With today's new media we experience an assemblage of desire that maps out new relationships to the social body, to sexuality and gender questions, to ownership, and to the production, perception, and appropriation of moving images.This book brings together a broad spectrum of international positions relating to the time-based, immersive arts presented at the third B3 - the Biennial of the Moving Image Frankfurt/Main 2017 - which focuses on desire in the contemporary world. An extensive essay by Marc Ries develops a theoretical framework relating the moving image to desire.Contributions by Candice Breitz, Douglas Gordon, Johan Grimonprez, Jonas Mekas, Larissa Sansour, Igor Simic, and Frederico Solmi.Desire/Begehren benennt Phänomene, die in eine produktive Ambivalenz eingeschrieben sind. Sie assoziieren Grundelemente menschlichen Zusammenlebens, verweisen aber zugleich auf komplexe gesellschaftliche Prozesse und Institutionen. Mit den gegenwärtigen Medien erleben und erfahren wir ein Gefüge des Begehrens, das neue Verhältnisse zum sozialen Körper, zur Sexualität und Geschlechterfrage, zum Eigentum und auch zur Produktion, Wahrnehmung und Aneignung von Bewegtbildern entwirft.Der Band versammelt ein Spektrum an internationalen Positionen zeitbasierter und immersiver Künste der dritten B3 - Biennale des Bewegten Bildes Frankfurt/Main 2017 - zum Begehren in der Gegenwart. Ein umfassender Essay von Marc Ries entwickelt einen theoretischen Rahmen der Beziehung des bewegten Bildes zum Begehren.Beiträge von Candice Breitz, Douglas Gordon, Johan Grimonprez, Jonas Mekas, Larissa Sansour, Igor Simic und Frederico Solmi.

Why do we play games and why do we play them on computers? The contributors of »Games and Rules« take a closer look at the core of each game and the motivational system that is the game mechanics. Games are control circuits that organize the game world with their (joint) players and establish motivations in a dedicated space, a »Magic Circle«, whereas game mechanics are constructs of rules designed for interactions that provide gameplay. Those rules form the base for all the excitement and frustration we experience in games.This anthology contains individual essays by experts and authors with backgrounds in Game Design and Game Studies, who lead the discourse to get to the bottom of game mechanics in video games and the real world – among them Miguel Sicart and Carlo Fabricatore.

How can videogames portray love and loss? Games and Bereavement answers this question by looking at five videogames and carrying out a participatory design study with grievers. Sabine Harrer highlights possible connections between grief and videogames, arguing that game design may help make difficult personal feelings tangible. After a brief literary review of grief concepts and videogame theory, the book deep-dives into examples of tragic inter-character relationships from videogame history. Building on these examples, the book presents a case study on pregnancy loss as a potential grief experience that can be validated through game design dialogue.

Where do computer games »happen«? The articles collected in this pioneering volume explore the categories of »space«, »place« and »territory« featuring in most general theories of space to lay the groundwork for the study of spatiality in games. Shifting the focus away from earlier debates on, e.g., the narrative nature of games, this collection proposes, instead, that thorough attention be given to the tension between experienced spaces and narrated places as well as to the mapping of both of these.

In recent years, spectacular images of ruined boats, makeshift border camps, and beaches littered with life vests have done much to consolidate the politics of movement in Europe. Indeed, the mediation of migration as a crisis has worked to shore up various forms of militarized surveillance, humanitarian response, legislative action, and affective investment. Bridging academic inquiry and artistic and activist practice, the essays, documents, and artworks gathered in Moving Images interrogate the mediation of migration and refugeeism in the contemporary European conjuncture, asking how images, discourses, and data are involved in shaping the visions and experience of migration in increasingly global contexts.

Very few contemporary television programs provoke spirited responses quite like the dystopian series Black Mirror. This provocative program, infamous for its myriad apocalyptic portrayals of humankind's relationship with an array of electronic and digital technologies, has proven quite adept at offering insightful commentary on a number of issues contemporary society is facing. This timely collection draws on innovative and interdisciplinary theoretical frameworks to provide unique perspectives about how confrontations with such issues should be considered and understood through the contemporary post-media condition that drives technology use.

In contemporary society, digital images have become increasingly mobile. They are networked, shared on social media, and circulated across small and portable screens. Accordingly, the discourses of spreadability and circulation have come to supersede the focus on production, indexicality, and manipulability, which had dominated early conceptions of digital photography and film. However, the mobility of images is neither technologically nor conceptually limited to the realm of the digital. The edited volume re-examines the historical, aesthetical, and theoretical relevance of image mobility. The contributors provide a materialist account of images on the move – ranging from wired photography to postcards to streaming media.

Videogames allow us to immerse ourselves in worlds that are reflective of cultural phenomena. At the same time, games are in the process of occupying and utilising the real world as a part of the game. The book provides a combination of theoretical and practical approaches to mixed reality through the lenses of game studies and pedagogy. These novel approaches invite the reader to rethink their conceptions of games and mixed reality. They are complemented with classical analyses of games and applications in educational contexts. In uniting theory and hands-on approaches, the book provides a broad spectrum that facilitates and inspires interdisciplinary thinking and work.

Through a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines historical and analytical approaches, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guidelines to art students, artists, curators and theoreticians – especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

What do stories in games have in common with political narratives?This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society – such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design – of game mechanics.

How to study a media object on the web that is at the same time a documentary, a reportage, and a game which combines both fiction and non-fiction elements? Nicole Braida digs into the discursive and material structures and infrastructures of serious games, text-adventures, newsgames, interactive maps, and data visualizations, in which refugees and migrants become the subject of humanitarian discourse. Although the goal is to arouse empathy towards migrants, these »interactive practices« distinguish who is vulnerable and who is not. It supports the idea of a »migratory crisis«, which, the author argues, is actually the symptom of a deeper crisis of the humanitarian system itself.

Piazza virtuale by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of Piazza virtuale's approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.

Food is more than just nutrition. Its preparation, presentation and consumption is a multifold communicative practice which includes the meal's design and its whole field of experience. How is food represented in cookbooks, product packaging or in paintings? How is dining semantically charged? How is the sensuality of eating treated in different cultural contexts? In order to acknowledge the material and media-related aspects of eating as a cultural praxis, experts from media studies, art history, literary studies, philosophy, experimental psychology, anthropology, food studies, cultural studies and design studies share their specific approaches.

F. Scott Fitzgerald once said: »Show me a hero, and I'll write you a tragedy.« In the 1990s, nobody fell deeper than O.J. Simpson. Once considered a national treasure, the athlete was accused of brutally slaying his ex-wife Nicole Brown and her friend Ronald Goldman on June 12, 1994. Within days, the media and public developed an unprecedented obsession with the story, turning a murder investigation and trial into a sensationalized reality show. Tatjana Neubauer examines the mediatization, deliberate manipulation, and the simplification of popular criminal trials for profit on television. She demonstrates that TV conflated legal proceedings into entertainment programming by commodifying events, people, and places.

What does social life in VR feel like? In a life-world analytical field study in the social VR platform VRChat, Felix Krell examines the lived experience of long-term social VR users from a phenomenological perspective. He investigates hybridization processes in virtual emplacement and embodiment as well as perceptual intricacies that frame a matured, long-term Social VR experience. An in-depth sociological inquiry then covers how long-term users shape their everyday social interactions within this perceptual framework. Grounded on (auto-)ethnographical data as well as 32 ethnographic interviews, the text provides multidisciplinary insight of how a social life inside Virtual Reality is experienced and negotiated by those who are most privy to it.

Radio signals keep making material, informational, political, and social connections in this world. Exploring these signals architectonically, the contributors engage with the situatedness of radio signal recordings in nature and with knowledge implied in radio communication. Rooted in experimental design and data feminism, the book presents innovative tools for navigating data by spanning media theory, information studies, and feminist new materialism. This offers an intersectional and post-disciplinary approach to computation, classification, and search that is accessible to artists, technologists, and researchers – facilitating interdisciplinary collaboration and deepening the understanding of information technologies.

In the EU, the prevailing academic and scientific thought models, as well as communication processes and journalism, are deeply Eurocentric. Martín Oller Alonso critiques these structural issues, focusing on post-communist Central and Eastern Europe's recent EU members. He argues for a decolonization of knowledge and a journalistic-other approach, blending local sensibilities and collective imaginations. Emphasizing deliberative communication, his study offers fresh media and communication theory perspectives, relevant to professionals and researchers in various fields, addressing the challenges and opportunities in the European Union amidst globalization and cultural integration.

YouTube features a wide array of multimodal musical figurations, including fan-made music videos, musical aestheticisations of pre-circulating content, and musical self-performances. Jonas Wolf explores open-ended forms of musical creative relay on YouTube, delving into formal, imitative, affective, and (non-)institutional aspects of networked media remix and (self-)aestheticisation. Beyond creating value for non-musical fields of discourse, this study is directed at filling a gap in a largely ocularcentric domain of study. It provides a concise theory of vernacular composition within our time's total digital archive that accounts for socio-aesthetic phenomena and their relation to systems of knowledge, control, and discourse.

Cultural, social and economic production is always medially constituted, since it is formed through processing, storage and transmission of certain data or materials. This is why the concept of mediality can be used to stress the performative character of all culture, whose multiplicity of techniques conversely interacts with the mediality in question. The contributors focus on a given cultural medium's genuine structure as a particular deployment without falling into some kind of hardware determinism, therefore considering culture beyond textuality.

This volume proposes a “deep internationalization” of media and communication studies by offering insights and guidance on how to integrate a cosmopolitan perspective in a variety of subfields of this discipline. Building on debates on de-Westernization and cosmopolitanism, the contributors advocate for the inclusion of both global and local perspectives and context-led approaches. They argue that acknowledging and incorporating epistemologies, topics, and methodologies from diverse regions, contexts, and backgrounds will enhance the comprehensiveness and relevance of their discipline and foster a more inclusive and meaningful understanding in communication studies.

Interactive documentaries combine moving images, text, graphics, and digital interactions to create dynamic, web-based narrative formats. As a post-cinematographic expansion of the classical documentary film, they provide viewers with opportunities to select options and make decisions that co-determine what is shown and in what order. This volume brings together perspectives from film, media, game, and interface studies and includes analyses of key works as well as interviews with actors involved in making interactive documentaries. Key topics explored include opportunities for participating in interactive formats, challenges for the long-term archiving and accessibility of browser-based documentaries, and the influence of software and interfaces on the concept of the documentary.