Communication in the Age of Suspicion: Trust and the Media

Springer
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In this timely volume, fourteen international contributors explore the relationship between media and trust, beginning with an examination of the decline of trust in key institutions. The book concludes by considering the future implications for media communication and exploring potential directions for further research in this Age of Suspicion.
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About the author

GILLIAN ALLARD Lecturer in Media, Culture and Communication, Cardiff School of Creative and Cultural Industries, University of Glamorgan, UK JEFF ARCHER Head of the School of Social Science, and Associate Professor of Political and International Studies, University of New England in Armidale, NSW, Australia JEREMY COLLINS Lecturer in Media Studies, London Metropolitan University, UK CHAS CRITCHER Professor of Communications, Sheffield Hallam University, UK SUSAN J. DRUCKER Professor in the School of Communication, Hofstra University, USA GARY GUMPERT Emeritus Professor of Communication, Queens College, City University of New York, USA JANET JONES Lecturer in Screen Studies, University of Wales, Aberystwyth, UK ANDREW MCSTAY Teaches Advertising at the London College of Music and Media, Thames Valley University, UK AMISHA MEHTA Lecturer, School of Advertising, Marketing and Public Relations, Queensland University of Technology, Brisbane, Australia MICHAEL REDLEY Secretary to the Board for Continuing Education at Oxford University, UK BARRY RICHARDS Professor of Public Communication, Head of Research in Bournemouth Media School, and Director of the Centre for Public Communication Research at Bournemouth University, UK KAJA TAMPERE Senior Research Assistant in Public Relations and Organisational Communication, University of Jyväskylä, Finland SHERRYL WILSON Lecturer in Media Theory, University of Gloucestershire, UK
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Additional Information

Publisher
Springer
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Published on
Apr 12, 2007
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Pages
244
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ISBN
9780230206243
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Best For
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Language
English
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Genres
Performing Arts / Film / General
Performing Arts / Film / History & Criticism
Performing Arts / General
Political Science / General
Political Science / History & Theory
Social Science / Media Studies
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Content Protection
This content is DRM protected.
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Reading information

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This book analyses Malaysian media from the Jurgen Habermas’ perspectives of “the public sphere” especially from the aspects of bourgeois public sphere, mass press, the commercialisation of the press and refeudalisation. Malaysia has also faced all of those aspects. However, the highlight of this book is the process called defeudalisation. The 2008 General Election has shown that a new public sphere of cyberspace or the Internet and the mobile phone was accessed and utilised significantly and was enough to be used by the opposition in influencing the public to vote them. It became one of the major factors in determining the result of the election which is for the first time the opposition denying the ruling government a two third majority in the parliament and taking control or governing of five states. This new and influential public sphere in Malaysia has reversed the Habermas’ argument of refeudalisation to a process called “Defeudalisation”. However, in creating a civil public sphere for the people to deliberate views, this book also argues that Malaysia needs a responsible media or freedom of the press with social responsibility. This book urges Malaysia to accept the idea or theory of social responsibility and the concept of public journalism in the public sphere.

This book is suitable for all interested–politicians, journalists, academia, and students of politics, media studies, laws and Malaysian studies–in the issues of media politics, free press and the role of media in Malaysian society as well as those interested in civil liberties, democratisation, political theory, media theory, law and Malaysian studies.

"Spares no details." —Publishers Weekly (Starred Review)

"An incredible read." —Richard Donner, Director

"People always ask me about life after childhood stardom. What would I say to parents of children in the industry? My only advice, honestly, is to get these kids out of Hollywood and let them lead normal lives." —Corey Feldman

The New York Times Bestseller
A deeply personal and revealing Hollywood-survival story.

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?

Now, in this brave and moving memoir, Corey is revealing the truth about what his life was like behind the scenes: His is a past that included physical, drug, and sexual abuse, a dysfunctional family from which he was emancipated at age fifteen, three high-profile arrests for drug possession, a nine-month stint in rehab, and a long, slow crawl back to the top of the box office.

While Corey has managed to overcome the traps that ensnared so many other entertainers of his generation—he's still acting, is a touring musician, and is a proud father to his son, Zen—many of those closest to him haven't been so lucky. In the span of one year, he mourned the passing of seven friends and family members, including Corey Haim and Michael Jackson. In the wake of those tragedies, he's spoken publicly about the dark side of fame, lobbied for legislation affording greater protections for children in the entertainment industry, and lifted the lid off of what he calls Hollywood's biggest secret.

Coreyography is his surprising account of survival and redemption.

What does the Frankfurt School have to say about the creative industries? Does the spread of Google prove we now live in an information society? How is Madonna an example of postmodernism? How new is new media? Does the power of Facebook mean we're all media makers now?

This groundbreaking volume – part reader, part textbook - helps you to engage thoroughly with some of the major voices that have come to define the landscape of theory in media studies, from the public sphere to postmodernism, from mass communication theory to media effects, from production to reception and beyond. But much more than this, by providing assistance and questions directly alongside the readings, it crucially helps you develop the skills necessary to become a critical, informed and analytical reader.

Each reading is supported on the facing page by author annotations which provide comments, dissect the arguments, explain key ideas and terminology, make references to other relevant material, and pose questions that emerge from the text.

Key features:

Opening chapters: ‘What is theory?’ and ‘What is reading?’ bring alive the importance of both as key parts of media scholarship Pre-reading: substantial Introductory sections set each text and its author in context and show the relevance of the reading to contemporary culture Post-reading: Reflection sections summarise each reading’s key points and suggests further areas to explore and think about 4 types of annotations help you engage with the reading – context, content, structure, and writing style .... as well as questions to provoke further thought Split into 4 sections – Reading theory, Key thinkers and schools, Approaches and Media Theory in context

New to the second edition:

New chapters on New Media, and Audiences as Producers

Reading Media Theory

will assist you in developing close-reading and analytic skills. It will also increase your ability to outline key theories and debates, assess different case studies critically, link theoretical approaches to a particular historical context, and to structure and present an argument. As such, it will be essential reading for undergraduate and postgraduate students of media studies, cultural studies, communication studies, the sociology of the media, popular culture and other related subjects.
New York Times bestseller—now a major motion picture directed by and starring James Franco!

From the actor who somehow lived through it all, a “sharply detailed…funny book about a cinematic comedy of errors” (The New York Times): the making of the cult film phenomenon The Room.

In 2003, an independent film called The Room—starring and written, produced, and directed by a mysteriously wealthy social misfit named Tommy Wiseau—made its disastrous debut in Los Angeles. Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Years later, it’s an international cult phenomenon, whose legions of fans attend screenings featuring costumes, audience rituals, merchandising, and thousands of plastic spoons.

Hailed by The Huffington Post as “possibly the most important piece of literature ever printed,” The Disaster Artist is the hilarious, behind-the-scenes story of a deliciously awful cinematic phenomenon as well as the story of an odd and inspiring Hollywood friendship. Actor Greg Sestero, Tommy’s costar and longtime best friend, recounts the film’s bizarre journey to infamy, unraveling mysteries for fans (like, who is Steven? And what’s with that hospital on Guerrero Street?)—as well as the most important question: how the hell did a movie this awful ever get made? But more than just a riotously funny story about cinematic hubris, “The Disaster Artist is one of the most honest books about friendship I’ve read in years” (Los Angeles Times).
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