NUEVOS LIBROS SOBRE ANTROPOLOGIA DE LOS MEDIOS
Digital Ethnography. Anthropology, Narrative,
and New Media (2013, University of Texas Press)
Natalie M. Underberg & Elayne Zorn
http://www.combinedacademic.co.uk/27054-digital-ethnography.html
http://www.combinedacademic.co.uk/27054-digital-ethnography.html
“Digital ethnography can be understood as a
method for representing real-life cultures through storytelling in digital
media. Enabling audiences to go beyond absorbing facts, computer-based
storytelling allows for immersion in the experience of another culture. A guide
for anyone in the social sciences who seeks to enrich ethnographic techniques,
Digital Ethnography offers a ground-breaking approach that utilizes interactive
components to simulate cultural narratives. Integrating insights from
cultural anthropology, folklore, digital humanities, and digital heritage studies, this work brims with case studies that provide in-depth discussions of applied projects. Web links to multimedia examples are included as well, including projects, design documents, and other relevant materials related to the planning and execution of digital ethnography projects. In addition, new media tools such as database development and XML coding are explored and explained, bridging the literature on cyber-ethnography with inspiring examples such as blending cultural heritage with computer games”.
cultural anthropology, folklore, digital humanities, and digital heritage studies, this work brims with case studies that provide in-depth discussions of applied projects. Web links to multimedia examples are included as well, including projects, design documents, and other relevant materials related to the planning and execution of digital ethnography projects. In addition, new media tools such as database development and XML coding are explored and explained, bridging the literature on cyber-ethnography with inspiring examples such as blending cultural heritage with computer games”.
Amazon Town TV. An Audience Ethnography in
Gurupá, Brazil (2013, University of Texas Press)
Richard Pace & Brian P. Hinote
http://www.combinedacademic.co.uk/television-video/27071-amazon-town-tv.html>
Richard Pace & Brian P. Hinote
http://www.combinedacademic.co.uk/television-video/27071-amazon-town-tv.html>
“In 1983, anthropologist Richard Pace began
his fieldwork in the Amazonian community of Gurupá one year after the first few
television sets arrived. On a nightly basis, as the community's electricity was
turned on, he observed crowds of people lining up outside open windows or doors
of the few homes possessing TV sets, intent on catching a glimpse of this
fascinating novelty. Stoic, mute, and completely absorbed, they stood for hours
contemplating every message and image presented. So begins the cultural turning
point that is the basis of Amazon Town TV, a rich analysis of Gurupá in the decades
during and following the spread of television. Pace worked with
sociologist Brian Hinote to explore the sociocultural implications of
television's introduction in this community long isolated by geographic and
communication barriers. They explore how viewers change their daily routines to
watch the medium; how viewers accept, miss, ignore, negotiate, and resist media
messages; and how television's influence works within the local cultural
context to modify social identities, consumption patterns, and worldviews.”
Censorium. Cinema and the Open Edge of Mass Publicity (2013, Duke University Press) William Mazzarella
Censorium. Cinema and the Open Edge of Mass Publicity (2013, Duke University Press) William Mazzarella
“As a system of regulation behind mass
publicity, censorship stands at a scholarly impasse, often arbitrary in its
exercise and yet seemingly consensual in its popular outcomes. William
Mazzarella fills major lacunae in the existing literature on censorship by his
incisive analysis of the cultural forms of censorship across colonial and
postcolonial periods. This is an important addition to the anthropology of
media and globalization in South Asia."-Arvind Rajagopal, author of
Politics after Television: Hindu Nationalism and the Reshaping of the Public in
India.”
“In the world of globalized media, provocative images trigger culture wars between traditionalists and cosmopolitans, between censors and defenders of free expression. But are images censored because of what they mean, what they do, or what they might become? And must audiences be protected because of what they understand, what they feel, or what they might imagine? At the intersection of anthropology, media studies, and critical theory, Censorium is a pathbreaking analysis of Indian film censorship. The book encompasses two moments of moral panic: the consolidation of the cinema in the 1910s and 1920s, and the global avalanche of images unleashed by liberalization since the early 1990s. Exploring breaks and continuities in film censorship across colonial and postcolonial moments, William Mazzarella argues that the censors' obsessive focus on the unacceptable content of certain images and the unruly behavior of particular audiences displaces a problem that they constantly confront yet cannot directly acknowledge: the volatile relation between mass affect and collective meaning. Grounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately brings light to the elusive foundations of political and cultural sovereignty in mass-mediated societies.”
“In the world of globalized media, provocative images trigger culture wars between traditionalists and cosmopolitans, between censors and defenders of free expression. But are images censored because of what they mean, what they do, or what they might become? And must audiences be protected because of what they understand, what they feel, or what they might imagine? At the intersection of anthropology, media studies, and critical theory, Censorium is a pathbreaking analysis of Indian film censorship. The book encompasses two moments of moral panic: the consolidation of the cinema in the 1910s and 1920s, and the global avalanche of images unleashed by liberalization since the early 1990s. Exploring breaks and continuities in film censorship across colonial and postcolonial moments, William Mazzarella argues that the censors' obsessive focus on the unacceptable content of certain images and the unruly behavior of particular audiences displaces a problem that they constantly confront yet cannot directly acknowledge: the volatile relation between mass affect and collective meaning. Grounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately brings light to the elusive foundations of political and cultural sovereignty in mass-mediated societies.”
Not Hollywood. Independent Film at the
Twilight of the American Dream (2013, Duke University Press)
Sherry B. Ortner
http://www.combinedacademic.co.uk/fi/27823-not-hollywood.html>
"There is much information to be gained from Ortner's expert use of anthropological methodology to explore the culture of the culture of independent cinema. Film scholars are often too close to their material to obtain findings anywhere near as striking and engaging as the ones enumerated in this volume." -Daniel Coffey, ForeWord Reviews
"Not Hollywood does what compelling ethnographies do: it helps us better understand the human complexities of something we simplistically thought we already knew. As a result, the Sundance 'scene' documented here sometimes feels like 'The Emperor's New Clothes' and, at other times, like truly engaged progressive politics and effective cultural critique. Required reading in film and media studies, but relevant far beyond those fields."-John Thornton Caldwell, author of Production Culture: Industrial Reflexivity and Critical Practice in Film and Television.”
“The pioneering anthropologist Sherry B. Ortner combines her trademark ethnographic expertise with critical film interpretation to explore the independent film scene in New York and Los Angeles since the late 1980s. Not Hollywood is both a study of the lived experience of that scene and a critical examination of America as seen through the lenses of independent filmmakers. Based on interviews with scores of directors and producers, Ortner reveals the culture and practices of indie filmmaking, including the conviction of those involved that their films, unlike Hollywood movies, are "telling the truth" about American life. These films often illuminate the dark side of American society through narratives about the family, the economy, and politics in today's neoliberal era. Offering insightful interpretations of many of these films, Ortner argues that during the past three decades independent American cinema has functioned as a vital form of cultural critique.”
"There is much information to be gained from Ortner's expert use of anthropological methodology to explore the culture of the culture of independent cinema. Film scholars are often too close to their material to obtain findings anywhere near as striking and engaging as the ones enumerated in this volume." -Daniel Coffey, ForeWord Reviews
"Not Hollywood does what compelling ethnographies do: it helps us better understand the human complexities of something we simplistically thought we already knew. As a result, the Sundance 'scene' documented here sometimes feels like 'The Emperor's New Clothes' and, at other times, like truly engaged progressive politics and effective cultural critique. Required reading in film and media studies, but relevant far beyond those fields."-John Thornton Caldwell, author of Production Culture: Industrial Reflexivity and Critical Practice in Film and Television.”
“The pioneering anthropologist Sherry B. Ortner combines her trademark ethnographic expertise with critical film interpretation to explore the independent film scene in New York and Los Angeles since the late 1980s. Not Hollywood is both a study of the lived experience of that scene and a critical examination of America as seen through the lenses of independent filmmakers. Based on interviews with scores of directors and producers, Ortner reveals the culture and practices of indie filmmaking, including the conviction of those involved that their films, unlike Hollywood movies, are "telling the truth" about American life. These films often illuminate the dark side of American society through narratives about the family, the economy, and politics in today's neoliberal era. Offering insightful interpretations of many of these films, Ortner argues that during the past three decades independent American cinema has functioned as a vital form of cultural critique.”
The Soul of Anime. Collaborative Creativity and Japan's Media Success Story (2013, Duke University Press)
Ian Condry
"In this informative and absorbing
volume, the author examines Japan's vast contributions to the animation world
and global culture at large. Using extensive interviews with auteurs such as
Mamoru Hosoda (The Girl Who Lept Through Time, Summer Wars) and Peter Chung
(Aeon Flux, Firebreather), studio visits to Toei, Gonzo, Ghibli and Studio 4C,
and case studies of shows such as Zenmai Zamurai and Deko Boko Friends, the
author offers colorful snapshots of the modern anime milieu and the talented
artists who continue delivering outstanding work despite the lack of real
monetart rewards." -Animation Magazine, April/May 2013.
"An anthropologist by training,
Condry bases his arguments in part on fieldwork consisting of interviews with
studio personnel and direct observation of working practices. One may
question (as the author himself does) how representative these anecdotes are,
but they stimulate numerous intriguing interpretations. Although sometimes
verbose, Condry writes thoughtfully and occasionally displays wry wit. His book
contains much of value to scholars of Japanese popular culture."
-Alexander Jacoby, Times Literary Supplement In The Soul of Anime, Ian
Condry explores the emergence of anime, Japanese animated film and television,
as a global cultural phenomenon. Drawing on ethnographic research including
interviews with artists at some of Tokyo's leading animation studios-such as
Madhouse, Gonzo, Aniplex, and Studio Ghibli-Condry discusses how anime's
fictional characters and worlds become platforms for collaborative creativity.
He argues that the global success of Japanese animation has grown out of a
collective social energy that operates across industries-including those that
produce film, television, manga (comic books), and toys and other licensed merchandise-and
connects fans to the creators of anime. For Condry, this collective social
energy is the soul of anime.”
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