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Burt S: On Taylor Swift

On Taylor Swift

Videogames Go to the Movies explores the impact of videogames on cinema--and cinema on videogames--from the early 1980s to the present. Chapters consider:<ul> <li>the mediums' mutual framing of each other</li> <li>case studies of adaptation in both directions</li> <li>the flows and functions of contemporary transmedia entertainment</li> <li>experimentation and hybridization at the mediums' boundaries</li> <li>the fundamental transformations of fandom, production toosl, and resulting media forms that promise to shape the videogame-cinema relationship in the future</li> </ul>Informed by a detailed knowledge both of film theory and history and the technical and aesthetic particulars of digital interactive media, Videogames Go to the Movies introduces students to the theory and history of the relationship between videogames and films, while also addressing larger questions about new media culture and technology.

Videogames Go to the Movies explores the impact of videogames on cinema--and cinema on videogames--from the early 1980s to the present. Chapters consider:<ul> <li>the mediums' mutual framing of each other</li> <li>case studies of adaptation in both directions</li> <li>the flows and functions of contemporary transmedia entertainment</li> <li>experimentation and hybridization at the mediums' boundaries</li> <li>the fundamental transformations of fandom, production toosl, and resulting media forms that promise to shape the videogame-cinema relationship in the future</li> </ul>Informed by a detailed knowledge both of film theory and history and the technical and aesthetic particulars of digital interactive media, Videogames Go to the Movies introduces students to the theory and history of the relationship between videogames and films, while also addressing larger questions about new media culture and technology.

Videogames Go to the Movies

Isms

The description for this book, Lennon-isms, will be forthcoming.

The description for this book, Lennon-isms, will be forthcoming.

Lennon-isms

SEMPRE Studies in The Psychology of Music

The Body in Music is a groundbreaking music psychology text innovatively marrying perspectives from western music performance practice and pedagogy with those spanning experimental to social research. Founded on a significant heritage of artistic practice, it reinvigorates traditional ideas with fresh knowledge garnered from the burgeoning field of inquiry into the role of the body in generating, communicating, and perceiving performance. An exemplar vignette, crafted from the authors' shared performance experience, sets the tone for the work, embedding it in an established socio-cultural context. Case-study driven chapters strive to reconcile empirical work and performance practice. Woven together, they form a narrative journeying the multi-dimensional roles of bodily engagement with music performance. This text is timely in that it bridges a widening gap between disciplines, researcher, and practitioner offering pathways of convergence towards developing theory and understanding of the body in music performance.

The Body in Music is a groundbreaking music psychology text innovatively marrying perspectives from western music performance practice and pedagogy with those spanning experimental to social research. Founded on a significant heritage of artistic practice, it reinvigorates traditional ideas with fresh knowledge garnered from the burgeoning field of inquiry into the role of the body in generating, communicating, and perceiving performance. An exemplar vignette, crafted from the authors’ shared performance experience, sets the tone for the work, embedding it in an established socio-cultural context. Case-study driven chapters strive to reconcile empirical work and performance practice. Woven together, they form a narrative journeying the multi-dimensional roles of bodily engagement with music performance. This text is timely in that it bridges a widening gap between disciplines, researcher, and practitioner offering pathways of convergence towards developing theory and understanding of the body in music performance.

The Body in Music

When Daft Punk's Thomas Bangalter and Guy-Manuel de Homem-Christo hung up their gold and silver helmets on 22nd February 2021, they bowed out with one of the highest reputations of any act in music history. Emerging in 1993 and powering down 28 years later, After Daft is the story of how their robo-gloved Midas Touch transformed absolutely everything in the middle. For nearly three decades, with over 20 million albums sold, some of the most indelible dance anthems ever minted to their name, and an instantly-recognisable aesthetic signature, Daft Punk sit firmly in the pantheon of untouchables. The story of Daft Punk is the story of the modern era. Now that Bangalter and Homem-Christo have called it quits, millions around the world are grappling with what it all meant. Shrouded in mystery, controversy and abundant joy, their legacy exists as a 21st century Rosetta Stone. After Daft will be the most thorough attempt yet to decode it.

When Daft Punk's Thomas Bangalter and Guy-Manuel de Homem-Christo hung up their gold and silver helmets on 22nd February 2021, they bowed out with one of the highest reputations of any act in music history. Emerging in 1993 and powering down 28 years later, After Daft is the story of how their robo-gloved Midas Touch transformed absolutely everything in the middle. For nearly three decades, with over 20 million albums sold, some of the most indelible dance anthems ever minted to their name, and an instantly-recognisable aesthetic signature, Daft Punk sit firmly in the pantheon of untouchables. The story of Daft Punk is the story of the modern era. Now that Bangalter and Homem-Christo have called it quits, millions around the world are grappling with what it all meant. Shrouded in mystery, controversy and abundant joy, their legacy exists as a 21st century Rosetta Stone. After Daft will be the most thorough attempt yet to decode it.

Daft Punk & The Rewiring of 21st Century Culture

After Daft

Regina Lawrence¿s new text argues that many films explicitly or implicitly portray aspects of power¿the central concept in the study of politics¿in patterned, predictable, and often problematic ways. By introducing a multi-faceted framework for thinking about the political nature of films, Lawrence explores three ways film can be studied by political scientists and scholars of political communication: the power of film to portray political reality, how films allocate resources, and the nature of film¿s portrayals of power.

Portraying Power follows the recent trend toward using popular culture and entertainment as a vehicle for explaining politics by pushing the line of inquiry into the study of film, the form of entertainment least explored by scholars of political communication. Film studies rooted in film theory and critical cultural approaches have a long and venerable history, but political science has thus far contributed very little to nor drawn much upon it. Regina Lawrence’s new text argues that many films explicitly or implicitly portray aspects of power—the central concept in the study of politics—in patterned, predictable, and often problematic ways. By introducing a multi-faceted framework for thinking about the political nature of films, Lawrence explores three ways film can be studied by political scientists and scholars of political communication: the power of film to portray political reality, how films allocate resources, and the nature of film’s portrayals of power. Covering a typology of film in terms of general form—from documentaries to "based on a true story" narratives to the purely fictional—and their political content—from explicit to implicit—Lawrence analyzes a broad array of films. This will be the only text on the market written by an expert on political communication that truly synthesizes the scholarly insights of political science, communication studies, and film studies. A companion website will includes basic background on film theory and technique, links to film clips and interviews with filmmakers, and other support materials for the text.

Film and Politics in the New Media Age

Portraying Power

Das Handbuch denkt Medientheorien konsequent von den gegenwärtigen und zukünftigen Transformationen von Kultur, Technologie und Gesellschaft her. Die Struktur und die Begriffe des Handbuchs greife globale Trends und Probleme des Medienwandels auf, die auf das Engste mit den technologischen Entwicklungen und Veränderungen von Kultur und Gesellschaft im Ganzen verknüpft sind. 
Angesichts dieser Komplexität und der zentralen Rolle, die Medien in gesellschaftlichen Transformationsprozessen einnehmen, existieren Medientheorien nur im Plural und stehen vor der Herausforderung ihrer beständigen Neuerfindung. Das ›Handbuch Medientheorien des 21. Jahrhunderts‹ schreibt daher nicht bloß einen bestehenden Kanon fest. Medientheorie wird vielmehr als eine kreative Praxis verstanden, die den zeitgenössischen sowie nahzukünftigen Bedingungen und Herausforderungen des Medienwandels mit neuen Begriffen und Theoremen begegnet.Der Gebrauchswert des Handbuchs besteht darin, zentrale Problemlagen der (post-)digitalen Gegenwart und Zukunft zu adressieren. Renommierte Autor:innen aus Medienwissenschaft und angrenzenden Disziplinen zeigen auf, inwiefern Medientheorien die Analyse einer hochtechnisierten, globalen Medienkultur ermöglichen, welche eng mit den mannigfaltigen Prozessen kultureller Differenzierung und Identitätsbildung verschränkt ist.Für Forscher:innen wie für Studierende, die an aktuellen Problemlagen interessiert sind, versammelt das Handbuch maßgebliche Themen, Begriffe und Konzepte, die den ›state of the art‹ zeitgenössischer medientheoretischer Diskurse bilden und als ›cutting edge‹-Beiträge Pfade für zukünftige Debatten vorzeichnen. Im Sinne einer kreativen Aneignung suchen die Beiträge dabei den Rückbezug zu etablierten Autor:innen der Medientheorie aus dem 20. Jahrhundert (z. B. Benjamin, McLuhan, Kittler), aktualisieren und rekontextualisieren deren Einsichten aber im Hinblick auf die Herausforderungen der Gegenwart und Zukunft.Die Herausgeber*innenPD Dr. Christoph Ernst ist wissenschaftlicher Mitarbeiter der Abteilung Medienwissenschaft an der Universität Bonn.Dr. Katerina Krtilova ist wssenschaftliche Mitarbeiterin am Forschungsschwerpunkt Ästhetik und Koordinatorin des Doktoratsprogramms „Epistemologien ästhetischer Praktiken“, angesiedelt am Collegium Helveticum als Kooperationsprojekt zwischen der ZHdK, ETH und Universität Zürich.Prof. Dr. Jens Schröter ist Inhaber des Lehrstuhls Medienkulturwissenschaft an der Universität Bonn.Dr. Andreas Sudmann ist Privatdozent für Medienwissenschaft an der Universität Bochum und derzeit als wissenschaftlicher Koordinator und Principal Investigator für die Forschungsgruppe „How is artificial intelligence changing science? Research in the era of learning algorithms“ an der Universität Bonn tätig. Aktuelle Forschungsschwerpunkte: Digitale Medienkulturen und insbesondere Künstliche Intelligenz, Digitale Methoden, Theorie und Geschichte der Medien mit Schwerpunkt auf medienästhetische Problemstellungen, Medienkritik, medienwissenschaftliche Wissenschaft- und Technikforschung.

Das Handbuch denkt Medientheorien konsequent von den gegenwärtigen und zukünftigen Transformationen von Kultur, Technologie und Gesellschaft her. Die Struktur und die Begriffe des Handbuchs greife globale Trends und Probleme des Medienwandels auf, die auf das Engste mit den technologischen Entwicklungen und Veränderungen von Kultur und Gesellschaft im Ganzen verknüpft sind.Angesichts dieser Komplexität und der zentralen Rolle, die Medien in gesellschaftlichen Transformationsprozessen einnehmen, existieren Medientheorien nur im Plural und stehen vor der Herausforderung ihrer beständigen Neuerfindung. Das ›Handbuch Medientheorien des 21. Jahrhunderts‹ schreibt daher nicht bloß einen bestehenden Kanon fest. Medientheorie wird vielmehr als eine kreative Praxis verstanden, die den zeitgenössischen sowie nahzukünftigen Bedingungen und Herausforderungen des Medienwandels mit neuen Begriffen und Theoremen begegnet.Der Gebrauchswert des Handbuchs besteht darin, zentrale Problemlagen der (post-)digitalen Gegenwart und Zukunft zu adressieren. Renommierte Autor:innen aus Medienwissenschaft und angrenzenden Disziplinen zeigen auf, inwiefern Medientheorien die Analyse einer hochtechnisierten, globalen Medienkultur ermöglichen, welche eng mit den mannigfaltigen Prozessen kultureller Differenzierung und Identitätsbildung verschränkt ist.Für Forscher:innen wie für Studierende, die an aktuellen Problemlagen interessiert sind, versammelt das Handbuch maßgebliche Themen, Begriffe und Konzepte, die den ›state of the art‹ zeitgenössischer medientheoretischer Diskurse bilden und als ›cutting edge‹-Beiträge Pfade für zukünftige Debatten vorzeichnen. Im Sinne einer kreativen Aneignung suchen die Beiträge dabei den Rückbezug zu etablierten Autor:innen der Medientheorie aus dem 20. Jahrhundert (z. B. Benjamin, McLuhan, Kittler), aktualisieren und rekontextualisieren deren Einsichten aber im Hinblick auf die Herausforderungen der Gegenwart und Zukunft.

Handbuch Medientheorien im 21. Jahrhundert

Music and Material Culture

In the early twenty-first century we are inundated with technologies and discourses that privilege the apparently liberating immaterial aspects of digital culture. Despite, or perhaps because, of this, the making of material objects continues to be of importance in people's everyday lives. Including case studies on guitar makers, homemade recording equipment, car audio culture, and 3D printing of musical instruments, Gavin Carfoot critically examines the ways that musical objects are produced through social and cultural practices and forms of labour, in co-constitutive ways between human makers and non-human objects.

In the early twenty-first century we are inundated with technologies and discourses that privilege the apparently liberating immaterial aspects of digital culture. Despite, or perhaps because, of this, the making of material objects continues to be of importance in people’s everyday lives. Including case studies on guitar makers, homemade recording equipment, car audio culture, and 3D printing of musical instruments, Gavin Carfoot critically examines the ways that musical objects are produced through social and cultural practices and forms of labour, in co-constitutive ways between human makers and non-human objects.

The Culture and Practice of Making Musical Objects

Making Things Musical

Untitled O'Toole 2 of 2

A deeply personal account of Laura's journey to Graceland, through the American South, exploring the role music played in saving her life.

A deeply personal account of Laura's journey to Graceland, through the American South, exploring the role music played in saving her life.

Sad Songs

Routledge Advances in Sociology

Philanthropy, Art and Society investigates the socio-economic and cultural factors shaping philanthropy, historically and at present, from tax incentives and government policy to norms, values and laws. Critically evaluating the social consequences and impact of philanthropy, the book shows that it is a phenomenon that leads to fundamental changes in the way we think about how to belong, and how we experience the world around us.

Philanthropy, Art and Society sets up, for the first time, the field of arts philanthropy in the UK, shedding light on the variety of ways in which individuals and organisations give their time and money to support the arts. Herrero and Reid evaluate the history of arts philanthropy, its legacy, and its significance in today’s society. They explore the idea that giving to the arts is a form of behaviour influenced by its specific historical, socio-cultural and political context which can profoundly affect its recipients (organisations and individuals) as well as shape the very context in which these recipients operate.First, they investigate the socio-economic and cultural factors shaping philanthropy, historically and at present, from tax incentives and government policy to norms, values and laws. Second, they critically evaluate the social consequences and impact of philanthropy, asking such questions as: <ul> <li>does philanthropy reinforce or mitigate social inequalities?</li> <li>what effects does it have on organisational cultures and structures of recipients?</li> <li>can philanthropy ensure the long-term sustainability of the arts sectors?</li> </ul>The book’s exploration of how philanthropy constitutes society shows that philanthropy is a phenomenon that leads to fundamental changes in the way we think about how to belong, and how we experience the world around us. This book will be of interest to students and scholars of sociology, politics, international relations, economics, anthropology, cultural policy, cultural studies, philanthropy and non-profit studies, entrepreneurial studies, business studies, management, and the non-profit sector.

Philanthropy, Art and Society

Children's Literature and Culture

This book reads Black childhood as represented in literature, social practice, political discourse, and action to argue that literary images of Black children and the construction of a radical tradition of children's literature are related strategies addressing the limitations of articulations of black personhood.

This book reads Black childhood as represented in literature, social practice, political discourse, and action to argue that literary images of Black children and the construction of a radical tradition of childrenâ€™s literature are related strategies addressing the limitations of articulations of black personhood.

The Literature and Politics of the Impossible

African American Children in American Political Life

Nadine Shah. Singer, songwriter, musician, activist, mixed-race, thirtysomething, successful, outspoken. That's the tagline, at least... As a professional musician, I decided long ago what truly defines success. Everything else it just a bonus. Famous enough to be scrutinised in the supermarket, but not famous enough to enjoy the perks that come with 'celebrity', I don't know any other life.From my various accolades and media presence, it might seem like I've it made it, but really I just try my best to do what I do best. I imagine that much of my story is yours, too, even if you're not a musician. I know you sometimes feel just as inadequate as I do scrolling through Instagram, viewing 'better' depictions of ourselves. But none of it is real. To me, what makes a good lyricist is the ability to speak for everyone and to everyone. I don't claim to be unique; I don't have any answers to the big questions. But I am willing to share my thoughts on the world with anyone who is willing to listen. This book is a collection of musings on what makes me jump out of bed and what makes me hide under the covers. Sometimes we need to read other people's stories in order to process our own. In this memoir, I will hang out my dirty laundry for all to see in the hope that perhaps you'll find the confidence to do the same. This is not your regular rock-star tale of debauchery; it's just my everyday life ­- the rank and the glamorous, the mundane and the ridiculous, the demons and the angels. My version of events.

Critically Acclaimed, Sort of Famous

On Taylor Swift

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