Ilona Iłowiecka‐Tańska, Katarzyna Potęga vel Żabik
{"title":"13 How Visitors Tame Exhibits","authors":"Ilona Iłowiecka‐Tańska, Katarzyna Potęga vel Żabik","doi":"10.1515/9783839466834-016","DOIUrl":"https://doi.org/10.1515/9783839466834-016","url":null,"abstract":"","PeriodicalId":31969,"journal":{"name":"Zeitschrift fur Medienwissenschaft","volume":"1 1","pages":"217-230"},"PeriodicalIF":0.0,"publicationDate":"2024-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.degruyter.com/document/doi/10.1515/9783839466834-016/pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147885633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"2 Eugène Sue – Vom Schauerroman zum Kriminalroman","authors":"Katia Schorn","doi":"10.1515/9783839468470-002","DOIUrl":"https://doi.org/10.1515/9783839468470-002","url":null,"abstract":"","PeriodicalId":31969,"journal":{"name":"Zeitschrift fur Medienwissenschaft","volume":"1 1","pages":"25-80"},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147883750","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":"Chapter 5. Transnational advocacy campaigns","authors":"Angela Lindt","doi":"10.1515/9783839469699-009","DOIUrl":"https://doi.org/10.1515/9783839469699-009","url":null,"abstract":"Delivery of judgment in the case of Máxima Acuña and her family.I arrive at the Palacio de la Justicia shortly before eight in the morning.As usual at this time of the year, thick gray clouds hang over Lima.The traffic in front of the Supreme Court is not yet as crowded and noisy as it will be a few hours later.On Facebook, Amnesty International and several national NGOs have called for a plantón, a rally, to which about seventy people announced their participation and about 260 people showed their \"interest.\"However, at 8 a.m.only two members of Amnesty International are there.They brought signs with them that say, \"Máxima no está sola -Máxima is not alone,\" and positioned themselves by the fountain across the street from the courthouse.A few reporters are standing on the other side of the street and wait with cameras.They immediately start filming when a taxi stops at the sidewalk and Máxima Acuña, her husband Jaime Chaupe, and Elías, their son-in-law, arrive.The three quickly get out of the taxi and enter the courthouse through a side entrance.I enter the building through the visitors' entrance.Via a narrow staircase I reach the upper floor and cross a populous hall with a high ceiling.In front of the entrance to the actual courtroom, there are already many people standing around, mostly elegantly dressed people over fifty -men in dark suits and women in two-pieces.The Chaupe family sits on a wooden bench to the right of the entrance to the courtroom, somewhat separated from the crowd of other people.María Elena Foronda, a Member of Parliament of the leftist party Frente Amplio, is with them, later joined by Mirtha, the lawyer working with Grufides, and Hugo Blanco, the icon of the Peruvian campesino movement.Rocío Silva Santisteban, the former executive secretary of the Coordinadora, and Marco Arana, the former priest and founder of Grufides, who is now a member of Congress for the Cajamarca region, appear and talk to the family.Juliana from EarthRights International also arrives and joins the group.The Peruvian human rights movement seems to have sent its most important figures to the court hearing.Several reporters and photographers stay with the group constantly, taking pictures and filming.Shortly after 8:30 a.m. the crowd becomes restless as the entrance to the hall is opened.A few people, primarily those directly involved in the court case and their lawyers, are called upFederación Nacional de Mujeres Campesinas, Artesanas, Indígenas, Nativas y Asalariadas del Perú, National Federation of Peasant, Artisan, Indigenous, Native and Wage-Earning Women of Peru.Chapter 5. Transnational advocacy campaigns 149 also there, who traveled from Celendín to Lima for another event and came to show his support with the Chaupe family.Further interviews by the reporters with Máxima, Mirtha, but also with Marco Arana follow.Photos are taken with the different support groups, with the women's organization, and with Amnesty International.The activists and m","PeriodicalId":31969,"journal":{"name":"Zeitschrift fur Medienwissenschaft","volume":"1 1","pages":"147-168"},"PeriodicalIF":0.0,"publicationDate":"2023-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.degruyter.com/document/doi/10.1515/9783839469699-009/pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147898417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Food and the Senses in Film","authors":"Laura Lindenfeld, Fabio Parasecoli","doi":"10.1515/9783839464793-010","DOIUrl":"https://doi.org/10.1515/9783839464793-010","url":null,"abstract":"As food has acquired greater prominence -not only in film but across a range of visual media -its representation has evolved as well: we see a growing emphasis on and further refinement of the textures, surfaces, light and sounds connected with cooking; eating elicits even stronger physical reactions in spectators, ranging from salivation to hunger, from desire to disgust.This attention to materiality intensifies the effect of realism to the limit of hyperrealism, with extreme close ups, enhanced glistening on ingredients and dishes, and amplified sound effects.In this essay we explore this intensification and consider how the shift toward the food film as a genre in and of its own right has changed, highlighting the vicarious nature of sensory consumption even further.","PeriodicalId":31969,"journal":{"name":"Zeitschrift fur Medienwissenschaft","volume":"1 1","pages":"195-208"},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.degruyter.com/document/doi/10.1515/9783839464793-010/pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147894465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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