By Janet Staiger, Sabine Hake
Convergence Media background explores the ways in which electronic convergence has substantially replaced the sphere of media background. Writing media heritage is not any longer a question of charting the ancient improvement of someone medium comparable to movie or tv. as an alternative, now that quite a few media from blockbuster motion pictures to daily laptop use intersect usually through convergence, students needs to locate new how you can write media historical past throughout a number of media codecs. This assortment of eighteen new essays via top media historians and students examines the problems at the present time in writing media heritage and histories. each one essay addresses a unmarried medium—including movie, tv, advertisements, sound recording, new media, and more—and connects that categorical medium’s historical past to bigger matters for the sphere in writing multi-media or convergent histories. one of the volume’s subject matters are new media applied sciences and their influence on conventional methods to media heritage; replacement bills of movie construction and exhibition, with a unique emphasis on movie throughout a number of media systems; the altering relationships among audiences, fanatics, and shoppers inside of media tradition; and the globalization of our media tradition.
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Extra info for Convergence Media History
Stanford: Stanford University Press. ——. 1996. On Television. New York: The New Press. Buhle, Paul and Dave Wagner. 2003. Radical Hollywood: The Untold Story Behind America’s Favorite Movies. New York: The New Press. Cagle, Chris. 2007. 3 (Autumn): 291–311. Kerr, Paul. 1986. “Out of What Past? ” Screen Education 32–33 Bourdieu Meets the Political Economists 33 (Autumn/Winter 1979–1980): 45–65. Rpt. in The Hollywood Film Industry: A Reader, ed. Paul Kerr. London: Routledge & Kegan Paul; British Film Institute, 220–244.
This 38 Marsha F. Cassidy approach was not new in the sale of cigarettes to women—the earliest ad campaigns of the late 1920s took a similar tack (Schudson 1984, 192–198)—but it did significantly alter representations of the woman smoker that had up until then dominated television, freeing women to smoke alone and with aplomb (Toll and Ling 2005). Over time, women as well as men were allowed to experience the full pleasure of smoking, but the social practices associated with the habit divided along a familiar binary of masculine/feminine, most notably in the realm of touch and taste.
Schary’s decisions and the microeconomic climate in which RKO operated are clearly important, but they alone cannot capture the larger political legitimation at stake. At best they are the conditions of film-historical change—or the fulcrum for its effects—but not the source of change itself. . It was determined not only economically but also ideologically. ” David Bordwell and Janet Staiger argue of deep focus cinematography that an ideology of “progress” guided cinematographers’ increasing preference for using technology to show the pro-filmic reality with more fidelity (1985, 250).