By Carol Vernallis, Visit Amazon's Amy Herzog Page, search results, Learn about Author Central, Amy Herzog, , John Richardson
The Oxford guide of Sound and photograph in electronic Media surveys the modern panorama of audiovisual media. individuals to the amount glance not just to adjustments introduced by way of electronic thoughts, yet to the advanced social and technological prior that informs, and is remodeled by means of, new media. This assortment is conceived as a sequence of dialogues and inquiries via prime students from either photograph- and sound-based disciplines. Chapters discover the historical past and the way forward for moving-image media throughout quite a number codecs together with blockbuster movies, games, tune video clips, social media, electronic visualization applied sciences, experimental movie, documentaries, video artwork, pornography, immersive theater, and digital tune. Sound, track, and noise emerge inside of those stories as necessary forces inside of moving networks of representation.
The essays during this assortment span various disciplinary ways (film stories, musicology, philosophy, cultural experiences, the electronic humanities) and matters of research (Iranian documentaries, the Twilight franchise, army strive against photos, and woman Gaga videos). Thematic sections and direct exchanges between authors facilitate extra engagement with the debates invoked by means of the textual content.
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Extra resources for The Oxford Handbook of Sound and Image in Digital Media
In addition, just as the audio CD has given a new value and currency to vinyl (see above), the digital as default mode of the image allows filmmakers to invoke the (artefacts of the) analog mode (whether the grain of celluloid or the fuzziness of video, or the pristine hues of black-and-white), as so many ways to draw attention to the poetics of obsolescence. Thus, faced with the reality of digital cinema at the point of production and postproduction and the eventual penetration of digitization into the areas of distribution and exhibition, one must distinguish not only between the different branches of the institution of cinema—what I called film as product and cinema as service—but also between different parties or players and their respective agendas or roles.
The main forces of convergence have been economic and demographic, determined by multinational company policy and the quest for global audiences, not forgetting the economic surplus value of segmented, locally addressed audiences. Since the early years of the past century, the audiovisual media have (apart from military uses) always developed primarily as mass-produced services in a sector of the economy—the leisure, culture, and information industries—that has seen quite exponential growth after World War II, with an acceleration of the pace of change during the past twenty years, but also with increasingly more volatile consumers.
Indd 17 10/12/2013 7:07:08 AM 18 Thomas Elsaesser Cultural Convergence The last point requires a closer consideration of the third type of convergence (or resistance to it) embodied in cultural forms of media consumption, usually split between passive manipulation and active participation: “The old either-or oppositions (co-optation vs. ”7 The technological backbone of this new participatory culture—the social networking websites, such as Facebook, Linked-In, YouTube, or Twitter—is made possible by the highly standardized software of internet browsers, search engines, and the creative commons initiatives; the widespread practice of downloads and file swapping of media content; and the universal spread of mobile telephony and GPS tracking devices.