The Aesthetics of Violence in Contemporary Media

Bloomsbury Publishing USA
Free sample

The topic of violence in the media seems as inundated as can be. Countless studies and research projects have been conducted, mostly to show its negative effects on society. What Gwynneth Symonds proposes, though, takes this significant topic one step further: studying the aesthetics of media violence. By defining key terms like the 'graphic' nature and 'authenticity' of violent representations, and discussing how those definitions are linked to actual violence outside the film and television screen, Symonds broadens the arena of study.
Engagingly written, The Aesthetics of Violence in Contemporary Media fills an important gap. Symonds uses existing studies for the empirical audience reception data, together with discussions of the different representations of violence to look at violence in the media as an art form in of itself. By looking at The Simpsons, Bowling for Columbine and Norma Khouri's Forbidden Love, just to name a few, Symonds cross-analyzes violence in multiple media to see their affective role in audience reception - an important aspect when discussing media. The book strikes a balance between the readers' need to see how theory matches what actually happens in the texts in question and the demands of a theoretical overview.
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About the author

Gwyn Symonds received her PhD in Philosophy from the University of Sydney in 2006.
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Additional Information

Publisher
Bloomsbury Publishing USA
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Published on
Nov 3, 2011
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Pages
328
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ISBN
9781441117366
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Language
English
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Genres
Performing Arts / Film / History & Criticism
Social Science / Media Studies
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Content Protection
This content is DRM protected.
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Media Perspectives for the 21st Century brings together key international scholars to explore concepts, topics and issues concerning the communication environment in contemporary democratic societies. It combines qualitative and quantitative approaches to provide an interdisciplinary and truly global perspective that reflects the trends, theories and issues in current media and communication research.

The collection raises significant questions about the study of the media by challenging approaches to major media and societal issues, and analyses in more depth the range of concerns that shape both the present and the future media landscape and the issues these can create for communication. It also investigates the main effects of technological developments on the domain of the news media and journalism.

Divided into two main sections, Part I provides accounts of the role of the media in society, and deals with agendas that affect the field of communications studies. Part II goes on to examine the world of new media and offers analyses on the developments of the 21st century. Chapters deal with various dimensions of media from a number of different perspectives and socio-political contexts, covering a wide range of topics including Social Networking, Political Communication, Public Journalism, Global Infotainment and Consumer Culture.

Media Perspectives for the 21st Century will be highly useful to undergraduate and postgraduate students, as well as researchers and academics, in the fields of media and communication studies, mass communication, journalism and new media.

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David Morgan, Duke University, USA

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Graeme Turner, University of Queensland, Australia

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The events covered include Celebrity Big Brother, 9/11, the Iraq war and World Youth Day 2005 to give readers an understanding of the major debates in this increasingly high-profile area of media and cultural research.

In this study, Baltruschat calls attention to dramatic changes in worldwide media production. Her work provides new insights into industry re-organization, digital media, and audience interactivity as pivotal relationships are redrawn along the entire value chain of production, distribution, and consumption. Based on an international study, she details how cultural agents now negotiate a media landscape through collaborative ventures, co-productions and format franchising. These varied collaborations define the new global media economy and affect a shift across the entire field of cultural production.

Through detailing the intricacies of globally networked production ecologies, Baltruschat elucidates the shifting power relations in media production, especially in regards to creative labor and trade of intellectual properties. In the new global economy, "content" has become the "new currency." As a result, relational dynamics between cultural agents emerge as key forces in shaping worldwide cultural production, now increasingly characterized by flexible production and consumption.

The blurring of lines in international media developments require new parameters, which define creativity and intellectual property in relation to interactive audiences and collaboratively produced content. Baltruschat clearly maps and defines these new dynamics and provides solutions as to how creative labor constellations can advance and enrich the new media economy. This is especially pertinent as global film and TV production does not necessarily result in greater media diversity. On the contrary, interdependencies in policy regimes, prioritization of certain genres, and branded entertainment epitomize how current networked ecologies reflect broader trends in cultural and economic globalization.

New York Times bestseller—now a major motion picture directed by and starring James Franco!

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Lovable child star by age ten, international teen idol by fifteen, and to this day a perennial pop-culture staple, Corey Feldman has not only spent the entirety of his life in the spotlight, he's become just as famous for his off-screen exploits as for his roles in such classic films as Gremlins, The Goonies, and Stand by Me. He's been linked to a slew of Hollywood starlets (including Drew Barrymore, Vanessa Marcil, and adult entertainer Ginger Lynn), shared a highly publicized friendship with Michael Jackson, and with his frequent costar Corey Haim enjoyed immeasurable success as one half of the wildly popular duo "The Two Coreys," spawning seven films, a 1-900 number, and "Coreymania" in the process. What child of the eighties didn't have a Corey Feldman poster hanging in her bedroom, or a pile of Tiger Beats stashed in his closet?

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Coreyography is his surprising account of survival and redemption.

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