It is important for teachers who work with children and teenagers to be aware of the role of media and popular culture in young people’s lives. It is a challenge to have an open and flexible approach to film, TV and other media products. Students’ real experiences have to be considered as equal in importance to the experiences and ideas of the teacher. The teacher has to help students to place their experiences in a larger perspective. In (...) this study, the didactic potentials and the use of film and media are studied in relation to the learning and teaching of English as a foreign language. Our personal experience shows that film is sometimes regarded as valuable teaching material and at other times only used for amusement or as a time-filler. The starting point for this study was, therefore, the curiosity to find out if our personal view is correct. The main questions at issue for this study are: What didactic potentials are there of film and media in English teaching? How do teachers use film and contemporary media in the classroom? How do teachers regard film and media as teaching resources? The possibilities of using media in teaching are great. It is, for example, possible to watch a movie with subtitles in English or find an interesting video-clip within seconds. However, there is no guarantee that contemporary media is being used to its fullest potential. (shrink)

Radio, television, film, and the other products of media culture provide materials out of which we forge our very identities; our sense of selfhood; our notion of what it means to be male or female; our sense of class, of ethnicity and race, of nationality, of sexuality; and of "us" and "them." Media images help shape our view of the world and our deepest values: what we consider good or bad, positive or negative, moral or evil. (...) class='Hi'>Media stories provide the symbols, myths, and resources through which we constitute a common culture and through the appropriation of which we insert ourselves into this culture. Media spectacles demonstrate who has power and who is powerless, who is allowed to exercise force and violence, and who is not. They dramatize and legitimate the power of the forces that be and show the powerless that they must stay in their places or be oppressed. (shrink)

For historians of psychology, Hugo Münsterberg is best remembered as William James’ successor as director of the Harvard Psychological Laboratory and a pioneer of applied psychology. By contrast, for film and media studies scholars, Münsterberg is recognized less for his contributions to experimental psychology than for those to film theory, a field in which his penultimate book, The Photoplay: A Psychological Study (1916), is frequently claimed as an inaugural text. However, lost in the blind spots of (...) both disciplinary perspectives has been a thorough examination of Münsterberg's collaboration with Paramount Pictures, translating psychological tests into experimental short films. Despite reaching millions of moviegoers in 1916, Münsterberg’s ‘Testing the Mind’ series has received little attention from historians of science and early cinema alike. One reason for this neglect is that, to date, not a single extant copy of a ‘Testing the Mind’ release has been located. This article is about the author's efforts, in collaboration with students, to reanimate these lost psychological tests for the screen through meticulous historical reconstruction based on the original scripts, journalistic accounts, and correspondence between Münsterberg and Paramount. This reconstructive process, I show, yields new insights into the relationship between psychology and early cinema and an opportunity for reflection on this promising new space for research at the intersection of media archaeology, the history of psychology, and experimental history of science. Film URL: https://archive.org/details/munsterberg_paramount.pictographs. (shrink)

Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...) Cinema to contemporary music video to autobiography and the public image of Sidney Poitier. The book is a significant contribution to cultural studies and gender studies and critical race theory. What is distinctive about the book is the question of ethics as a question of race and gender. (shrink)

This monograph presents a synthesis and reconstruction of Rudolf Arnheim’s theory of media. Combining both Arnheim’s well-known writings on film and radio with his later work on the psychology of art, the author presents a coherent approach to the problem of the nature of a medium, space and time, and the differentia between different media. The latent ontological commitments of Arnheim’s theories is drawn out by affirming Arnheim’s membership in the Brentano school of Austrian philosophy, which allows (...) his theories to be clarified and strengthened, particularly with the metaphysical writings of Roman Ingarden. The resulting theory is relational, portraying essential medial differences with neutral criteria and allowing for a rigorous definition of a medium. The way in which a medium is based on the inherent dispositions of medial materials creates a highly appealing theory that is determinate without being deterministic. The theory is thus highly timely as people in media studies seek to address the determinate nature of media after the post-medium condition. The book will appeal to researchers and graduate students in cultural and media studies as well as architecture and design. (shrink)

In his recently published book _Reading the Figural, or, Philosophy after the New Media_, D. N. Rodowick introduces the figural into the analysis of film and new media. The book contains revised versions of already published articles written in the 1980s and 1990s, [1] together with new material, and takes us on a journey through film theory and new media technologies to draw out the power of figuration in the coming digital age. Recognizing the 'tectonic shift' (...) (205)currently taking place from an analog to a digital culture, Rodowick convincingly argues that we need a set of new concepts and strategies capable of engaging with new media forms and effects, in order to develop 'creative strategies of resistance' (xvi) as part of a 'critical genealogy that may liberate new concepts for critiquing the permeation of capital into all areas of cultural experience'. (shrink)

This study focuses on the acquisition of the two basic relational functions of the French address pronouns: tu for solidarity with friends and vous for deference with an unknown person or a known person with higher social status. Previous research has found that L2 learners of French become more target-like in their choice between tu and vous when they spend time in a French community. This is due to the fact that study-abroad offers L2 learners exposure to naturalistic interaction involving (...) native speakers of the target language. Our study reports findings from a cross-sectional study of language practices outside the classroom and the productive use of the pronouns in a role-play task by 24 Ghanaian L2 French learners. Half of them had learnt L2 French in Ghana while the other half had spent 9 additional months in France. The findings show that the distribution of address pronouns in L2 French is significantly different from the distribution of address pronouns in L1 French. But there are no significant differences between the two groups of learners. The analysis of reported language practices, interaction with native and non-native speakers and exposure to radio and films in both contexts show that appropriate use of address pronouns is not related to the amount of interaction outside the classroom or exposure to media, be they in the ‘at home’ context or during study abroad context. This study suggests that factors other than exposure are at play in the acquisition of the relational function of address pronouns. (shrink)

This article develops an interdisciplinary theoretical method for assessing the environmental values articulated and practised by dispersive or 'mobile' film production practices, aiming toward applicable strategies to make media practices more environmentally conscientious and sustainable. Providing a social and environmental study of the local relational values, political economy and ecosystem ramifications of runaway productions and film incentive programmes, this study draws on contemporary international green production practices as entryways into environmentally positive film industry change. Offering an (...) overview of the potential use of a relational values approach to media production cultures, the essay uses two opposing models (the Michigan film incentive and the underwater cinematography culture of South Florida) in order to assess the political dynamics, social consequences and environmental threats of Hollywood's mobile practices - as well as their potential as sites, beyond Hollywood, to converge environmental values with local media culture. (shrink)

Media and Moral Education demonstrates that the study of philosophy can be used to enhance critical thinking skills, which are sorely needed in today’s technological age. It addresses the current oversight of the educational environment not keeping pace with rapid advances in technology, despite the fact that educating students to engage critically and compassionately with others via online media is of the utmost importance. -/- D’Olimpio claims that philosophical thinking skills support the adoption of an attitude she calls (...) critical perspectivism, which she applies in the book to international multimedia examples. The author also suggests that the Community of Inquiry – a pedagogy practised by advocates of Philosophy for Children – creates a space in which participants can practise being critically perspectival, and can be conducted with all age levels in a classroom or public setting, making it beneficial in shaping democratic and discerning citizens. -/- This book will be of interest to academics, researchers and postgraduate students in the areas of philosophy of education, philosophy, education, critical theory and communication, film and media studies. (shrink)

A wide-ranging theoretical and aesthetic exploration of hybrid moving images based on the intersection of film, video, and digital technology.

Within US media reactions to March of the penguins, animal images became an arena for displaced conflicts of human interest. This paper examines an intermediary step through which the film became a medium for social disagreement: conflict over control of the cultural authority to interpret animal images. I analyze claims to the cultural honorific of science made within disputes over readings of the film as evidence for intelligent design . I argue that published refutations of this reading (...) were largely misguided in that they tended to group arguments-for-ID with a suite of social–allegorical readings of the film. By failing to address essential differences between interpretations, critics of the arguments-for-ID necessarily overlooked their problematic and unexamined claim that the film shares the cultural authority of science. Furthermore, where critics of the ID readings might have challenged this claim, they often replicated it instead. This overarching failure critically to assess the status of the film’s scientific authority may have resulted from audience expectations about the genre of wildlife films, the advertising strategy of the film’s US distributors, and structural ambiguities within the film concerning its status as a scientific representation. (shrink)

This fascinating study explores the difficulties faced by modern Westerners in their search for a meaningful life. It sheds light on this enduring cultural dilemma through a close reading of four popular film and television narratives: Pixar's animated feature film, Toy Story; Christopher Nolan's Batman Begins and The Dark Knight; the television romantic comedy, Sex and the City; and, finally, the mobster drama, The Sopranos. The readings are guided by a number of inter-related questions. First, in what ways (...) do these popular stories speak to the modern West's meaning dilemma? What do they have to say about contemporary culture, and its capacity to illuminate the fundamental human? What are the core problems faced by the central characters and how are they resolved? Finally, and perhaps most importantly, do the four stories that come into focus suggest hope or despair in the modern West's search for meaning? (shrink)

In this study conducted during the 2020 Coronavirus pandemic, I explored how trait morbid curiosity was related to interest in 1) factual information about Coronavirus that was specifically morbid; 2) general factual information about Coronavirus; 3) pandemic and virus genres of films and TV shows; and 4) genres of film and TV shows that center around threat more broadly. Participants who scored high in morbid curiosity reported increased interest, compared to usual, in pandemic/virus genres as well as horror and (...) thriller genres. Morbidly curious participants were also more interested specifically in morbid information about Coronavirus. Furthermore, disgust sensitivity was unrelated to these preferences. These results provide initial evidence that trait morbid curiosity can predict particular media preferences in the face of a real threat, and that morbid curiosity may reflect an adaptive predisposition in some individuals toward learning about the dan­gerous and disgusting aspects of a threat. (shrink)

Each month brings new scientific findings that demonstrate the ways in which human activities, from resource extraction to carbon emissions, are doing unprecedented, perhaps irreparable damage to our world. As we hear these climate change reports and their predictions for the future of Earth, many of us feel a sickening sense of _déjà vu_, as though we have already seen the sad outcome to this story. Drawing from recent scholarship that analyzes climate change as a form of “slow violence” that (...) humans are inflicting on the environment, _Climate Trauma_ theorizes that such violence is accompanied by its own psychological condition, what its author terms “Pretraumatic Stress Disorder.” Examining a variety of films that imagine a dystopian future, renowned media scholar E. Ann Kaplan considers how the increasing ubiquity of these works has exacerbated our sense of impending dread. But she also explores ways these films might help us productively engage with our anxieties, giving us a seemingly prophetic glimpse of the terrifying future selves we might still work to avoid becoming. Examining dystopian classics like _Soylent Green _alongside more recent examples like _The Book of Eli_, _Climate Trauma_ also stretches the limits of the genre to include features such as _Blindness_, _The Happening_, _Take Shelter_, and a number of documentaries on climate change. These eclectic texts allow Kaplan to outline the typical blind-spots of the genre, which rarely depicts climate catastrophe from the vantage point of women or minorities. Lucidly synthesizing cutting-edge research in media studies, psychoanalytic theory, and environmental science, _Climate Trauma _provides us with the tools we need to extract something useful from our nightmares of a catastrophic future. (shrink)

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology​ presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of (...) class='Hi'>film history, media theory, and media archaeology by one of the acknowledged pioneers of new film history and media archaeology. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction as we experience them today. (shrink)

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers (...) a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock. (shrink)

Historically, representations of Islamic themes in media narratives of Black men have been characterized by personal transformations in the midst of surviving in crime-ridden inner city areas. These young Black men are usually at-risk due to their statuses as Black, economically disadvantaged men. Beginning with Malcolm X and Alex Haley’s The Autobiography of Malcolm X, the Black male Islamic redemption narrative has become a common theme in Black popular culture, as it is usually supplemented with unique methods of confronting (...) the various dimensions of health. Throughout this study, the representations of these approaches among Black men in contemporary film and television are examined throughout realms of spiritual, emotional, mental, physical, social, and vocational health. (shrink)

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how (...) they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture. (shrink)

Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" (...) in a postmodern world. Contributors: Homi Bhabha, Thomas Elsaesser, Rosa Linda Fregoso, Teshome H. Gabriel, George Lipsitz, Margaret Morse, David Morley, John Peters, Patricia Seed, Ella Shohat, and Vivian Sobchack. (shrink)

__Filmed School__ examines the place that teaching holds in the public imaginary through its portrayal in cinema. From early films such as _Madchen in Uniform_ and _La Maternelle_ to contemporary images of teaching in _Notes on a Scandal_ and _History Boys_, teachers’ roles in film have been consistently contradictory, portraying teachers as both seducers and selfless heroes, social outcasts and moral models, contributing to a similarly divided popular understanding of teachers as both salvific and sinister. In this book, Stillwaggon (...) and Jelinek present these contradictory images of teaching through the concept of _transference_ – the fantastical belief in another’s knowing that founds a teacher’s authority in relation to her students and, to some degree, the public at large. Tracing the place of transference across a century of school films, each chapter demonstrates the persistence of this fantasy in one of the dreams or nightmares of teaching that recurs thematically in school films: the teacher-as-savior, seducer, signifier in a moribund discourse, and sacrificial object. Through these analyses, the authors suggest that something might be missing in our attempts to theorize education when we leave our unthought fantasies of teaching out of the picture. This book will be of key interest to academics, researchers and postgraduate students in the fields of educational theory, teacher education, philosophy of education, film and media studies, psychoanalysis, sociology of education, curriculum studies and cultural studies. (shrink)

Science fiction has served the film industry like a dreamy stepchild. It gets only scant accolades from its master but must do heavy lifting: that is, make money. While science-fiction films often emphasize spectacle and action, they also inspire philosophical contemplation. Why? Science fiction, dating back to Shelley and Verne, came into existence speculating about humanity's social and physical worlds. Many books and articles over the past several years discuss the philosophical issues that films raise. One fairly new school (...) of thought, "posthumanism," explicitly deriving from postmodernism, with touches of critical theory, has seized on science-fiction movies as support for its theorizing. This volume and its 42 authors from film theory, science and technology studies, literary criticism, media studies, and philosophy, offer an array of posthumanist scholarship. (shrink)

Open peer commentary on the article “Do the Media Fail to Represent Reality? A Constructivist and Second-order Critique of the Research on Environmental Media Coverage and Its Normative Implications” by Julia Völker & Armin Scholl. Upshot: The present commentary is not intended as a criticism of the arguments presented in Julia Völker and Armin Scholl’s target article. I very much agree with these arguments. I only wish to draw attention to the fact that Völker and Scholl are not (...) writing about global warming or climate change; their article suggests that communication and media studies are in a state of crisis. (shrink)

Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across (...) the humanities and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. The Moving Eye: Film, Television, Architecture, Visual Art and the Modern gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. Ranging from early cinema, to works by Le Corbusier, Sergei Eisenstein, Gordon Matta-Clark, and Pierre Huyghe, to theories of the image in motion informed by psychoanalysis, theories of the public sphere, and animal studies, each of the nine essays in the book advances the lines of inquiry commenced by Friedberg. (shrink)

The study examines the modes of representation and communication of information through illustrative teaching aids in the 19th century. It focuses primarily on the didactic wall paintings and the tradition of lectures with slides and notes, how could the experience of these types of collectively observed images influence impressions and expectations of early film audiences. Didactic images are here analyzed primarily in terms of their compositional features, but in an effort to explain how processuality penetrated into the didactic image (...) of the 19th century also with regard to the aspect of time. As a result, the study calls for a reassessment of the importance of the didactic wall painting in the formation of modern visuality and observational practices of the late 19th century. (shrink)

This study examines technological horror films focusing mainly on social media-themed films that feed people’s anxieties. The study examines social media-themed films’ place, importance, and effect on people’s lives and explains social media-themed films using the concept of technological determinism. The study considers social media, characters, and the universe, arguing that horror films are moving away from the natural universe and increasingly taking place in a virtual universe. The evolutionary angle of this paper explores how horror (...) cinema has evolved to reflect societal changes, with a particular focus on the influence of social media on the genre. This discussion delves into the ways in which horror films have adapted to the digital age and how they mirror our shifting anxieties and fears. With technological advances, anxiety is experienced in a more abstract universe, lending new shapes to people’s fears and adding complexity to the relationship between the horror film and the audience. (shrink)

The growing presence of women in the legal profession and the prominence of law as a site of feminist social change make the complex interrelationship between the media, feminism, and the law a critical concern across disciplines. Drawing on legal theory, cultural studies, journalism, political science, sociology, and communications, this book presents a collection of essays that explore how the media represents and constructs gender, law, and feminism. Arranged thematically, these twenty-three articles are the work of distinguished (...) academics and activists. The collection begins with a section on "Portrayals of Feminism in the Media", which provides historical background on the media's treatment of feminist issues. The anthology proceeds with sections entitled "Feminism, Law, and Popular Culture"; "Essentializing Gender"; and "Media Images of Violence". Giving fresh and provocative treatments to such complex and topical subjects as hate radio, Anita Hill, popular women's magazines, and the portrayal of women in film and television, Feminism, Media, and the Law is required reading for anyone interested in feminism and its relationship to the media. (shrink)

In recent years, the concept of the border has undergone profound transformations and become central to a broad debate investigating the complexity of its political and social practices. The centrality of the border topic in public debate has contributed to the development of something akin to a “frontier cinema” or, better, a propensity for “filming at the border.” This essay investigates political borders as media environments and seeks to develop the idea of the “border mediascape” as a new framework (...) at the crossroads of multiple disciplines. A documentary film shot on the island of Lampedusa during the so-called European migrant crisis, the award-winning and critically acclaimed Fuocoammare ( Fire at Sea, 2016) by Gianfranco Rosi, is used as a case study to reflect on the functioning of technological devices placed along borders and, thus, on the geopolitics of environmental media. The original take this documentary offers on the media devices that operate along national borders—as well as on the environmental, social, and political effects of those technologies—is an aspect that has gone unnoticed by critics. Watching this film through the eyes of media and border studies provides the opportunity to conceive contemporary national borders as a form of geopolitical asymmetry implanted in media technology. (shrink)

Since _Jung and Film_ was first published in 2001, Jungian writing on the moving image in film and television has accelerated. _Jung and Film II: The Return_ provides new contributions from authors across the globe willing to tackle the broader issues of film production and consumption, the audience and the place of film culture in our lives. As well as chapters dealing with particular film makers such as Maya Derren and films such as _Birth, The (...) Piano, The Wrestler _and _Breaking the Wave_, there is also a unique chapter co-written by documentary film-maker Tom Hurvitz and New York Jungian analyst Margaret Klenck. Other areas of discussion include: the way in which psychological issues come under scrutiny in many movies the various themes that concern Jungian writers on film how Jungian ideas on psychological personality types can be applied in fresh ways to analyse a variety of characters. The book also includes a glossary to help readers with Jungian words and concepts. _Jung and Film II_ is not only a welcome companion to the first volume, it is an important stand- alone work essential for all academics and students of analytical psychology as well as film, media and cultural studies. (shrink)

"The question of what bearing scientific inquiry has upon the humanities is the subject of an important, ongoing debate in film and media studies. In the latest addition to the AFI Film Readers series, Cognitive Media Theory presents a case that the theorization of film and media spectatorship needs to take current empirical research in the sciences into consideration, and to show how empirical research informs film and media studies. Exploring (...) topics that range from color perception and moral engagement to our cognitive response to humor, Cognitive Media Theory offers film and media scholars and advanced students an introduction to current cognitive theory through original essays that critically reflect upon the current state of the field. Contributors address key topics, genres, and media forms, and present the findings of specific experiments and case studies conducted across film, television, and video games"--. (shrink)

A study of how contemporary cinema and film-philosophers explore radical skepticism about our knowledge of the world.

This short article provides an overview of the various theoretical and methodological approaches to analysing neoliberalism, paying particular attention to political-economic and governmental approaches (and the extent to which they can be contrasted or combined), and argues for a more theoretically- and methodologically-informed, interdisciplinary critique of neoliberalism in media studies. In emphasising the heterogeneity of approaches to studying an object such as neoliberalism, as well as the differences in how those approaches are deployed in different ‘studies’, it (...) will thus also argue for the applicability of such concerns to research in multiple disciplines in other countries (such as France) as well. (shrink)

'Young People and Social Media: Contemporary Children's Digital Culture' explores the practices, relationships, consequences, benefits, and outcomes of children's experiences with, on, and through social media by bringing together a vast array of different ideas about childhood, youth, and young people's lives. These ideas are drawn from scholars working in a variety of disciplines, and rather than just describing the social construction of childhood or an understanding of children's lives, this collection seeks to encapsulate not only how young (...) people exist on social media but also how their physical lives are impacted by their presence on social media.One of the aims of this volume in exploring youth interaction with social media is to unpack the structuring of digital technologies in terms of how young people access the technology to use it as a means of communication, a platform for identification, and a tool for participation in their larger social world. During longstanding and continued experience in the broad field of youth and digital culture, we have come to realize that not only is the subject matter increasing in importance at an immeasurable rate, but the amount of textbooks and/or edited collections has lagged behind considerably. There is a lack of sources that fully encapsulate the canon of texts for the discipline or the rich diversity and complexity of overlapping subject areas that create the fertile ground for studying young people's lives and culture. The editors hope that this text will occupy some of that void and act as a catalyst for future interdisciplinary collections.'Young People and Social Media: Contemporary Children's Digital Culture' will appeal to undergraduate students studying Child and Youth Studies and-given the interdisciplinary nature of the collection- scholars, researchers and students at all levels working in anthropology, psychology, sociology, communication studies, cultural studies, media studies, education, and human rights, among others. Practitioners in these fields will also find this collection of particular interest. (shrink)

What is the current state of film studies? How do you enter this field from a media studies background? Is it worthwhile for media scholars to engage in this neighboring field? Can you get a grasp of the key issues, theoretical currents, and analytical approaches consulting a limited number of publications? I will try to answer these questions in an extensive review essay on four fairly recent film studies books. The books approach the (...) field on different levels. Two introductory textbooks supply the basics for beginning students. An anthology of ‘classical’ texts provides an overview of the various theoretical and methodological currents. And a reader with key figures in the field offers state of the art research in search of ‘really useful theory’. This material is of great interest to media studies scholars. As the authors of the books considered here acknowledge, film studies can no longer afford to ignore its interdisciplinary location, intersecting with neighboring disciplines such as media studies and cultural studies, in an engagement with film as popular and mass culture. (shrink)

This article presents three studies examining the importance of identification with characters in research on media entertainment. In Study 1 it was found that identification with characters was associated with spectators' degree of enjoyment of feature films of different genres. Study 2 showed that identification with characters predicts the affective impact of a dramatic film and, also, it was associated with greater cognitive elaboration and a more complex reflexive process during the viewing of the dramatic film. (...) In Study 3 it was observed that identification with characters predicted the incidental impact of a full length fictional film on attitudes and beliefs. These results support the centrality of the construct of identification with characters in narrative persuasion research. (shrink)

Ever since the 1960s, media and communication studies have abounded in heated debates concerning the psychological and social effects of fictional media violence. Massive empirical research has first tried to tie film violence to cultivating either fear or aggressive tendencies among its viewership, while later research has focused on other media as well (television, video games). The present paper does not aim to settle the factual question of whether or not medial experiences indeed engender real (...) emotional dispositions. Instead, it brings into play the resources of genetic phenomenology in order to ask how the formation of such dispositions would be generally possible. Thus, it aims to further the discussion by overtly employing the framework of Husserl’s later genetic phenomenology to the field of emotional experience. By posing questions with regard to how fictional emotional experiences contribute to the formation of apperceptions and to the specificities of emotional sedimentation, it also points out some shortcomings in Husserl’s account by drawing from Freud’s dynamic theory of drives and emotions. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, by Satoshi (...) Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

Lev Manovich _The Language of New Media_ Cambridge, Massachusetts: MIT Press, 2002 ISBN 0-262-13374-1 hb; 0-262-63255-1 pb 354 pp.

This text reflects cultural techniques in relation to other concepts in cultural and media studies by addressing their relation to selected Anglo-American and French discussions. It also investigates the relation of cultural techniques to more recent material and speculative turns. Suggesting that the cultural techniques approaches introduce their own important material dimension to media-specific analysis of culture, the article argues that cultural techniques should be read in relation to recent post-Fordist political theory and explorations of the post-human (...) in order to develop conceptual hybrids that are able to inject politics into media theoretical accounts, as well as excavate histories of cultural techniques of cognitive capitalism. (shrink)

Human agency is typically thought of as intentional, purposeful, reflective and, in many cases, autonomous. This paper discusses human agency that is compromised in some of these respects, and actions that are actions only in a qualified sense. The object of study is the agency of the leading character, Jeff, in the film noir Out of the Past, and Elizabeth Anscombe’s Intention is the primary source in analyzing Jeff’s behavior.Two excerpts from the film are presented and analyzed. The (...) analysis of the first excerpt reveals agency that is merely weakly intentional; that is lacking in purposiveness and which displays ambivalence. Anscombe’s example of the man pumping water helps us see that Jeff’s actions are only intentional under some, basic, descriptions; that there is no intention of the action. Jeff does not really know his way about and his actions are not sufficiently grounded in reason. This, it is argued, is largely because he is not the author of his own actions: he is thrown into a situation set up by someone else. He enters in medias res and feels forced to act although he has limited knowledge of the meaning or purpose of the full action in which he partakes. In Anscombian vocabulary, he lacks the first-person practical knowledge typical of intentional action.In the second episode, Jeff protects Kathie the femme fatale, even when knowing that she has killed a man, stolen money, lied to Jeff, and is trying to frame him for murder. It is argued, in dialogue with Anscombe and Stoutland, that this case may be understood in terms of a mental cause rather than as an intentional action: Jeff’s actions and neglect to act is motivated by his passion for Kathie, it blinds him from considering what is reasonable and right to do. (shrink)

Journalism and media studies lack robust theoretical concepts for studying journalistic knowledge ‎generation. More specifically, conceptual challenges attend the emergence of big data and ‎algorithmic sources of journalistic knowledge. A family of frameworks apt to this challenge is ‎provided by “social epistemology”: a young philosophical field which regards society’s participation ‎in knowledge generation as inevitable. Social epistemology offers the best of both worlds for ‎journalists and media scholars: a thorough familiarity with biases and failures of obtaining ‎knowledge, (...) and a strong orientation toward best practices in the realm of knowledge-acquisition ‎and truth-seeking. This paper articulates the lessons of social epistemology for two central nodes of ‎knowledge-acquisition in contemporary journalism: human-mediated knowledge and technology-‎mediated knowledge. ‎. (shrink)

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we (...) need to recognize the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, _Visual Pedagogy_ explores the educational applications of visual media in different institutional settings during the past half century. Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil. Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, _Visual Pedagogy_ will be useful to educators, administrators, and activists. (shrink)

Media representations of illnesses, particularly those associated with stigma such as non-suicidal self-injury (NSSI), not only define health conditions for mass audiences, but generally do so in ways that are consistent with dominant ideologies. This article examines the construction of non-suicidal self-injury as practiced by female adolescents and young adults in four US films: Girl, Interrupted, Painful Secrets, Prozac Nation, and Thirteen. The methodology used to examine the films’ narrative structure is Kenneth Burke’s dramatism, while Julia Kristeva’s concept of (...) abjection informs the analysis. On one hand, a paradigmatic reading suggests that the films frame self-injury as resistance to repressive maternal domination of female adolescents. On the other hand, syntagmatic analysis reveals a privileged response to NSSI in the form of pacification administered by psychotherapists functioning as the return of the phallic-mother fantasy. (shrink)

PurposeWith the rise of the internet, the act of sharing copyrighted material has received a lot of attention, culminating in a flood of lawsuits against file‐sharers as well as studies concerning the costs of file‐sharing for the entertainment industry. This paper attempts to judge whether file‐sharing really is an ethically problematic act and, upon achieving this, goes on to propose strategies to avoid file‐sharing and discuss ethical considerations surrounding those distribution alternatives.Design/methodology/approachThe paper limits its discussion to the medium of (...) moving images. It tries to achieve above aims by applying the ethics of Immanuel Kant to the phenomenon of file‐sharing on the internet and borrowing ideas for alternative, file‐sharing avoiding, strategies from practitioners and media commentators and applying Kant's ideas to those.FindingsThe paper argues that file‐sharing cannot, per se, be considered to be unethical. While file‐sharing has positive and negative aspects, the proposed alternative distribution strategies, a one‐stop shop and giving films away for free, seem to avoid the negative implications of file‐sharing while not impeding with its positive facets. The paper concludes that, since the suggested strategies exist but are not yet implemented by the commercial film industry, the moral responsibility for file‐sharing lies with the commercial film industry, not with the individual file‐sharer.Originality/valueThe paper hence adds to the discussions surrounding online files haring by shifting the focus towards the entertainment industry as well as by providing alternative, file‐sharing avoiding, distribution solutions. (shrink)

This book builds a new understanding of the body and its relationship to images and technology, using a framework where novel writings of pragmatist somaesthetics and phenomenology meet new research on bodily reactions. Max Ryynänen gives an overview of the topic by collecting the existing information of our bodies gazing at visual culture and the philosophies supporting these phenomena, and examines the way the gaze and the body come together in our relationship to culture. Themes covered include somatic film; (...) the body in artistic documentation of activist art; body parts (and their mutilation or surgeries) in contemporary art and film; robot cars and our visual relationship to them; the usefulness of Indian rass philosophy in explaining digital culture; and an examination of Mario Perniola's work about the idea that we, human beings, are increasingly experiencing ourselves to be simply 'things.' The book will be of interest to scholars working in art history, aesthetics, cultural philosophy, film studies, technology studies, media studies, cultural studies, and visual studies. (shrink)

Victor Fan's dialogue between Buddhism and Euro-American philosophy is the first of its kind in film and media studies. From Chinese queer cinema to a reexamination of Japanese master Ozu's work and its historical reception to Christian Petzold's 2018 existential thriller Transit, Cinema Illuminating Reality forges a remarkable path between Buddhist studies and cinema studies, casting vital new light on both of these important subjects.

Recent studies in psychiatry reveal an acceptance of trauma through the media. Traditionally restricted to immediate experience, Post-traumatic Stress Disorder is now expanding to include mediated experience. How did this development come about? How does mediated trauma manifest itself? What are its consequences? This essay addresses these questions through three cases: ‘trauma film paradigm’, an early 1960s research program that employed films to simulate traumatic effects; the psychiatric study into the clinical effects of watching catastrophic events on (...) television, culminating with the September 11 attacks; reports on drone operators who exhibit PTSD symptoms after flying combat missions away from the war zone. The recognition of mediated trauma marks a qualitative change in the understanding of media effects, rendering the impact literal and the consequences clinical. What informs recent speculations about the possibility of trauma through media is a conceptual link between visual media and contemporary conceptions of trauma. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that (...) there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)