Chomsky considers how the media might be democratized (as part of the general problem of developing more democratic institutions) in order to offer citizens broader and more meaningful participation in social and political life.
Media Life is a primer on how we may think of our lives as lived in rather than with media. The book uses the way media function today as a prism to understand key issues in contemporary society, where reality is open source, identities are - like websites - always under construction, and where private life is lived in public forever more.
Ultimately, media are to us as water is to fish. The question is: how can we live a good life in media like fish in water? Media Life offers a compass for the way ahead.
Re-Inventing the Mediaprovides a highly original re-thinking of media studies for the contemporary post-broadcast, post-analogue, and post-mass media era.
While media and cultural studies has made much of the changes to the media landscape that have come from digital technologies, these constitute only part of the transformations that have taken place in what amounts of a reinvention of the media over the last two decades.
Graeme Turner takes on the task of re-thinking how media studies approaches the whole of the contemporary media-scape by focusing on three large, cross-platform, and transnational themes: the decline of the mass media paradigm, the ongoing restructuring of the relations between the media and the state, and the structural and social consequences of celebrity culture.
By addressing the fact that the reinvention of the media is not simply a matter of globalising markets or the take-up of technological change, Turner is able to explore the more fundamental movements and widespread trends that have significantly influenced the character of what the contemporary media have become, how it is structured, and how it is used.
Re-Inventing the Mediais a must-read for both students and scholars of media, culture and communication studies.
This volume is essential reading for undergraduate and postgraduate students and researchers of cultural studies, media studies and social theory.
Big Media has lost its monopoly on the news, thanks to the Internet. Now that it's possible to publish in real time to a worldwide audience, a new breed of grassroots journalists are taking the news into their own hands. Armed with laptops, cell phones, and digital cameras, these readers-turned-reporters are transforming the news from a lecture into a conversation. In We the Media, nationally acclaimed newspaper columnist and blogger Dan Gillmor tells the story of this emerging phenomenon and sheds light on this deep shift in how we make--and consume--the news.
Gillmor shows how anyone can produce the news, using personal blogs, Internet chat groups, email, and a host of other tools. He sends a wake-up call tonewsmakers-politicians, business executives, celebrities-and the marketers and PR flacks who promote them. He explains how to successfully play by the rules of this new era and shift from "control" to "engagement." And he makes a strong case to his fell journalists that, in the face of a plethora of Internet-fueled news vehicles, they must change or become irrelevant.
Journalism in the 21st century will be fundamentally different from the Big Media oligarchy that prevails today. We the Media casts light on the future of journalism, and invites us all to be part of it.
Dan Gillmor is founder of Grassroots Media Inc., a project aimed at enabling grassroots journalism and expanding its reach. The company's first launch is Bayosphere.com, a site "of, by, and for the San Francisco Bay Area."
Dan Gillmor is the founder of the Center for Citizen Media, a project to enable and expand reach of grassroots media. From 1994-2004, Gillmor was a columnist at the San Jose Mercury News, Silicon Valley's daily newspaper, and wrote a weblog for SiliconValley.com. He joined the Mercury News after six years with the Detroit Free Press. Before that, he was with the Kansas City Times and several newspapers in Vermont. He has won or shared in several regional and national journalism awards. Before becoming a journalist he played music professionally for seven years.
Jonathan Hardy undertakes a critical survey of political economy scholarship encompassing worldwide literature, issues and debates, and relationships with other academic approaches. He assesses different ways of making sense of media convergence and digitalisation, media power and influence, and transformations across communication markets. Many of the problems of the media that prompted critical political economy research remain salient, he argues, but the approach must continue to adapt to new conditions and challenges. Hardy advances the case for a revitalised critical media studies for the 21st century.
Topics covered include:
Introducing key concepts and research, this book explains how political economy can assist students, researchers and citizens to investigate and address vital questions about the media today.
Progressives love to attack conservatives as anti-science, wallowing in fake news, and culturally backwards. But who are the real denialists here?
There are three institutions in American life run by gatekeepers who have stopped letting in anyone who questions their liberal script: academia, journalism, and pop culture. They use their cult-like groupthink consensus as "proof" that science, reporting, and entertainment will always back up the Democrats. They give their most political members awards, and then say the awards make their liberal beliefs true. Worse, they are using that consensus to pull the country even further to the left, by bullying and silencing dissent from even those they've allowed in.
Just a few years ago, the media pretended they were honest brokers. Now a CNN segment is seven liberals versus a sacrificial lamb. MSNBC ate their sacrificial lamb. Well, Chris Matthews did. Tired of being forced to believe or else, Derek Hunter exposes the manufactured truths and unwritten commandments of the Establishment. With research and a biting, sarcastic wit, he explains:
Clever, controversial, and convincing, Derek Hunter's book gets to the root of America's biggest cultural war lies.
In the past ten years, the internet video platform YouTube has changed media and entertainment as profoundly as the invention of film, radio, and television did, more than six decades earlier. Streampunks is a firsthand account of this upstart company, examining how it evolved and where it will take us next.
Sharing behind-the-scenes stories of YouTube’s most influential stars—Streampunks like Tyler Oakley, Lilly Singh, and Casey Neistat—and the dealmakers brokering the future of entertainment like Scooter Braun and Shane Smith, Robert Kyncl uses his experiences at three of the most innovative media companies, HBO, Netflix, and YouTube, to tell the story of streaming video and this modern pop culture juggernaut. Collaborating with Google speechwriter Maany Peyvan, Kyncl explains how the new rules of entertainment are being written and how and why the media landscape is radically changing, while giving aspiring Streampunks some necessary advice to launch their own new media careers.
Kyncl persuasively argues that, despite concerns about technology impoverishing artists or undermining artistic quality, the new media revolution is actually fueling a creative boom and leading to more compelling, diverse, and immersive content. Enlightening, surprising, and thoroughly entertaining, Streampunks is a revelatory ride through the new media rebellion that is reshaping our world.
The fourth ‘industrial revolution’ is already upon us. Mass communication has played a key role in the emergence and advancement of each of the four industrial revolutions.
Information and communication technologies (ICTs), from book publishing, the press and telegraph to cinema, recorded music, radio, television, computers, the internet and the mobile phone, have accelerated the diffusion and adoption of the many innovations spawned by these revolutions.
Mass Communication in India begins with an introduction to mass communication theory (Chapter 1); this is followed by dedicated chapters (2 to 8) on journalism, cinema, radio, television, music, book publishing and the folk media. The remaining chapters (9 to 14) are given over to advertising and public relations, media audiences, mass communication and society, development communication, IT, telecommunications and the internet, and intellectual property rights (IPR) related to the mass media. Each chapter ends with a comprehensive list of recent publications for further reading.
This fifth edition expands, revises and updates the critical analysis of both traditional mass media and the new digital social media in the context of the changing socio-cultural and political-economic scenario in India and around the world; the analysis is from the theoretical perspectives of political economy and cultural studies.