Necsus. European Journal of Media Studies最新文献

{"title":"Mapping the fashion film festival landscape: Fashion, film, and the digital age","authors":"Mariana Medeiros Seixas","doi":"10.25969/mediarep/3407","DOIUrl":"https://doi.org/10.25969/mediarep/3407","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"8 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127511220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Digital maps and fan discourse: Moving between heuristics and interpretation","authors":"Marta Boni","doi":"10.25969/mediarep/3464","DOIUrl":"https://doi.org/10.25969/mediarep/3464","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124796670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Celebrating independence: 54th Thessaloniki International Film Festival","authors":"Lydia Papadimitriou","doi":"10.5117/NECSUS2014.1.PAPA","DOIUrl":"https://doi.org/10.5117/NECSUS2014.1.PAPA","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125179784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Providing evidence for a philosophical claim: The Act of Killing and the banality of evil","authors":"Thomas E. Wartenberg","doi":"10.25969/MEDIAREP/3401","DOIUrl":"https://doi.org/10.25969/MEDIAREP/3401","url":null,"abstract":"There has been an ongoing debate among philosophers and film theorists about whether films are capable of doing philosophy. The vast majority of the contributions to this debate have concentrated on narrative fiction films and the extent to which they are capable of producing something recognisable as philosophy.[2] This essay begins to correct this imbalance by arguing that a documentary can do philosophy. Documentaries are an important, thriving genre of contemporary filmmaking, so the failure to consider the possibility of their making a philosophical contribution is a serious lacuna in the debate about cinematic philosophy.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"46 10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125883768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Touchscreens, tactility, and material traces: From avant-garde artists to Instagram ASMRtists","authors":"J. O'meara","doi":"10.25969/MEDIAREP/13123","DOIUrl":"https://doi.org/10.25969/MEDIAREP/13123","url":null,"abstract":"The specifics of Instagram’s touchscreen-driven interface further confirm the significance of hands – both those of so-called ‘ASMRtists’ and the audiences who watch and activate the videos using their own fingers – to ASMR videos.[9] By engaging with scholarship on hand-held and touchscreen devices, such as that of Heidi Rae Cooley and David Parisi, I position the hand-focused ASMR videos in relation to studies of how mobile screen devices allow for more tactile forms of vision. Initially writing on handheld devices pre-touchscreen, Cooley identifies the sensual forms of viewing that can be facilitated through handheld devices – with such forms of tactile vision intensifying since 2007 with the popular emergence of touchscreen interfaces on the iPhone and similar devices.[10] More specifically, I align hand-focused ASMR videos with Parisi’s discussion of the fifth phase of haptic interfacing, that of the twenty-first century, wherein digital technology firms like Apple and Nintendo ‘crafted an image of the cultural sensorium in a state of urgent crisis that touch interfaces were uniquely qualified to alleviate’.[11] As Parisi argues in Archaeologies of Touch , advertising campaigns for Apple iPhones and Nintendo DS game consoles presented a narrative that ‘the sense of touch has been forgotten, left behind, and marginalized by a media interfacing schematic overdependent on audiovisual technologies’.[12] Parisi explains that advertisements for such products sought to ‘foster a desire in consumers to reconnect with their lost sense of touch’, while also fetishising the ‘technologized reincarnation’ of touch, one signalling towards ‘a utopic future of fully embodied presence in digital worlds’.[13] As the remainder of this article will explore, the appeal and impact of hand-focused ASMR videos further extends on tactile forms of vision and on the narrative that digital technologies can facilitate a remediated re-connection with touch.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126872498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pleasure | Obvious | Queer: A conversation with Richard Dyer","authors":"Catherine Grant, Jaap Kooijman","doi":"10.25969/MEDIAREP/3349","DOIUrl":"https://doi.org/10.25969/MEDIAREP/3349","url":null,"abstract":"On April 13, 2016, Catherine Grant and Jaap Kooijman held a conversation with film scholar Richard Dyer in front of a live audience. The conversation consists of three parts, each based on one particular theme that runs through Dyer’s work: pleasure, obvious, and queer. Each theme is introduced by a short video made especially for this occasion, in which quotations taken from Dyer’s work are combined with fragments of case studies Dyer has done over the years. Part one addresses the significance of pleasure in entertainment as well in the way academic scholars select their objects of study. Part two addresses both the respecting and questioning of the obvious when studying culture, including the persisting need for textual analysis and the role of stereotypes. The third part addresses notions of queerness before and after the Gay Liberation Movement of the 1970s. Moreover, the conversation questions to what extent these themes remain relevant in film and media studies today.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116536452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Pure gesturality’: Exploring cinematic encounters through exotic dancing","authors":"Marco Dalla Gassa","doi":"10.25969/mediarep/13143","DOIUrl":"https://doi.org/10.25969/mediarep/13143","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122182958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Globalisation and television formats [Review of: T. Oren, S. Shahaf (2012) Global television formats: understanding television across borders; K. Meizel (2011) Idolized: music, media, and identity in American Idol]","authors":"J. Kooijman","doi":"10.5117/NECSUS2014.1.KOOI","DOIUrl":"https://doi.org/10.5117/NECSUS2014.1.KOOI","url":null,"abstract":"At the time of writing this review John de Mol’s television production company Talpa has just started airing its latest reality show Utopia. As was the case with Big Brother in 1999 and The Voice of Holland in 2010, Dutch television merely functions as a test market and showroom for international buyers. Only Dutch viewers seem to know or care that these programs originated in the Netherlands, as these shows are considered global television formats elsewhere and products of a transnational entertainment industry. If perceived as ‘foreign’ at all these shows are most likely recognised as American. Recently, after a successful test run on Dutch television, The Voice was bought by the US network NBC and subsequently has been adapted in 50 different nations on f ive continents including The Voice Australia, The Voice Brasil, The Voice of China, and The Voice of Afghanistan (unlike the comparable Idol franchise, there are no The Voice adaptations in Africa). Tellingly, in its initial press announcement, as an attempt to attract contestants, the Dutch production company implied that The Voice of Holland was an American format. The question of national origin is raised by Silvio Waisboard in his 2004 essay ‘McTV’: ‘[c]ould we say that Survivor/Expedition: Robinson is unequivocally a Dutch show?’ (p. 368).1 His mistake reveals his answer and argument: this particular reality television format originated in Sweden rather than the Netherlands. Global television formats are designed to be easily adapted in other countries or regions and therefore have no nationally-specif ic characteristics. This makes the global television format an attractive topic to discuss globalisation along the lines of ‘grobalisation’ (a term coined by George Ritzer that never caught on) and ‘glocalisation’ (a term coined by Roland Robertson that did). Grobalisation emphasises the capitalist imperialistic character of globalisation, in which transnational conglomerates rationalise both the production and the consumption of culture in search of profit and economic growth, resulting in global homogeneity. Glocalisation, on the contrary, places most emphasis on how global culture is actively appropriated at EUROPEAN JOURNAL OF MEDIA STUDIES","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129012611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MP3s, rebundled debt, and performative economics: deferral, derivatives, and digital commodity fetishism in Lady Gaga’s spectacle of excess","authors":"A. Kustritz","doi":"10.5117/NECSUS2012.2.KUST","DOIUrl":"https://doi.org/10.5117/NECSUS2012.2.KUST","url":null,"abstract":"Lady Gaga’s rise to fame in the wake of the global financial crisis highlights the contradictions of late late capitalism in both the financial sector and the music industry. Both Gaga and second level economic units like derivatives rely on deferral, parody, and an ever-widening gap between the material and the figurative, the signifier and the signified, the locus of value and the exchange of money. Both thereby also offer the public a hidden opportunity to clearly see the disjuncture between the common belief in capitalism as a natural system and the reality of its social construction.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123619016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Past memories for a new future: The 70th Mostra Internazionale d’Arte Cinematografica di Venezia","authors":"Enrico Vannucci","doi":"10.5117/NECSUS2014.1.VANN","DOIUrl":"https://doi.org/10.5117/NECSUS2014.1.VANN","url":null,"abstract":"","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126219588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}