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This book examines the ways in which luxury fashion brands use their heritage in their digital storytelling and marketing. With chapters from authors in China and Macau (PRC), India, Romania, Turkey, the United Kingdom, and the United States, covering British, Chinese, French, Japanese, Indian, Italian, and Turkish brands, this truly global collection is the first book of its kind devoted solely to the emerging study of digital heritage storytelling. This method of reaching potential consumers and perpetuating brand identity is a hugely important factor in the marketing of luxury brands and has yet to be studied comprehensively. The book will be of interest to scholars working in fashion studies, fashion history, design history, design studies, digital humanities, and fashion marketing.
An analysis that traces the role of digital technology in multiplying precarity. An analysis that traces the role of digital technology in multiplying precarity. Technoprecarious advances a new analytic for tracing how precarity unfolds across disparate geographical sites and cultural practices in the digital age. Digital technologies-whether apps like Uber, built on flexible labor, or platforms like Airbnb that shift accountability to users-have assisted in consolidating the wealth and influence of a small number of players. These platforms have also exacerbated increasingly insecure conditions of work and life for racial, ethnic, and sexual minorities; women; indigenous people; migrants; and peoples in the global south. At the same time, precarity has become increasingly generalized, expanding to include even the creative class and digital producers themselves. This collaboratively authored multigraph analyzes the role of digital technology in multiplying precarity. The authors use the term precarity to characterize those populations disproportionately affected by the forms of inequality and insecurity that digital technologies have generated despite the new affordances and possibilities they offer. The book maps a broad range of digital precarity-from the placement of Palestinian Internet cables to the manufacture of electronics by Navajo women and from the production and deployment of drones on the U.S.-Mexico border to the technocultural productions of Chinese makers. This project contributes to, and helps bridge, ongoing debates on precarity and digital networks in the fields of critical computing, postcolonial studies, visual culture, and information sciences.
This volume provides an extensive overview of current research on the complex relationships between gender and communication. Featuring a broad variety of chapters written by leading and upcoming scholars, this edited collection uses diverse theoretical frameworks to provide insight into recent concerns regarding changing gender roles, representations, and resources in communication studies. Established research and new perspectives address vital themes in this comprehensive text, including the shifting politics of gender, ethical and technological trends in gendered media, and gender in daily life.
The art houses and cinema clubs of his youth are gone, but the films that D. A. Miller discovered there in the 1960s and '70s are now at his fingertips. With DVDs and streaming media, technology has turned the old cinematheque's theatrical offerings into private viewings that anyone can repeat, pause, slow, and otherwise manipulate at will. In Second Time Around, Miller seizes this opportunity; across thirteen essays, he watches digitally restored films by directors from Mizoguchi to Pasolini and from Hitchcock to Honda, looking to find not only what he first saw in them but also what he was then kept from seeing by quick camerawork, normal projection speed, missing frames, or simple censorship. At last he has an unobstructed view of the gay leather scene in Cruising, the expurgated special effects in The H-Man, and the alternative ending to Vertigo. Now he can pursue the finer details of Chabrol's debt to Hitchcock, Visconti's mystificatory Marxism, or the unemotive emotion in Godard. Yet this recaptured past is strangely disturbing; the films and the author have changed in too many ways for their reunion to be like old times. The closeness of Miller's attention clarifies the painful contradictions of youth and decline, damaged prints and flawless restorations.
Putting Asian and European musicals into conversation with Hollywood classics like Singin' in the Rain and La La Land, this study demonstrates the flexibility and durability of the genre. It explores how the movie musical mediates between nostalgia and technical innovation, while foregrounding the experiences of women, immigrants, and people of color.
Beyond Bias offers the first scholarly study of contemporary right-wing documentary film and video. Drawing from contemporary work in political theory and psychoanalytic theory, the book identifies what author Scott Krzych describes as the hysterical discourse prolific in conservative documentary in particular, and right-wing media more generally. In its hysterical mode, conservative media emphasizes form over content, relies on the spectacle of debate to avoid substantive dialogue, mimics the aesthetic devices of its opponents, reduces complex political issues to moral dichotomies, and relies on excessive displays of opinion to produce so much mediated "noise" as to drown out alternative perspectives or viewpoints. Though often derided for its reliance on nonsense or hyperbole, conservative media marshals incoherence as its prized aesthetic and rhetorical weapon, a means to bolster the political status quo precisely by confusing those audiences who come into its orbit. As a work of documentary studies, Beyond Bias also places conservative non-fiction films in conversation with their more conventional counterparts, drawing insight from the manner by which conservative media hystericizes such issues as the archive, observational methods, directorial participation, and the often moral imperatives by which documentary filmmakers attempt to offer insight into their subjects.
In 1919, Florence Deshon--tall, radical, and charismatic--was well on her way to becoming one of Hollywood's brightest stars. Embroiled in a clandestine affair with Charlie Chaplin, she continued to remain romantically involved with the well-known writer and socialist Max Eastman. By 1922, she was found dead in a New York apartment, rumored to have committed suicide. Love and Loss in Hollywood: Florence Deshon, Max Eastman, and Charlie Chaplin uses previously unpublished letters between Deshon and Eastman to reconstruct their relationship against the backdrop of the "golden age" of Hollywood. Deshon's tragic life and her abuse at the hands of powerful men--including Chaplin, Eastman, and Samuel Goldwyn--resonate with the concerns of today's MeToo movement. Above all, though, this is a book about an extraordinary woman unjustly forgotten: a brilliant writer and campaigner for women's rights, driven both by her ambition to succeed and a boundless desire for life. Rich in tantalizing detail, Love and Loss in Hollywood chronicles crucial years of American film history, overshadowed by the pervasive fear of Bolshevism after World War I, the Red Riots, and the emergence of the big studios in Hollywood.
From the Revolutionary War forward, Irish immigrants have contributed significantly to the construction of the American Republic. Scholars have documented their experiences and explored their social, political, and cultural lives in countless books. Offering a fresh perspective, this volume traces the rich history of the Irish American diaspora press, uncovering the ways in which a lively print culture forged significant cultural, political, and even economic bonds between the Irish living in America and the Irish living in Ireland. As the only mass medium prior to the advent of radio, newspapers served to foster a sense of identity and a means of acculturation for those seeking to establish themselves in the land of opportunity. Irish American newspapers provided information about what was happening back home in Ireland as well as news about the events that were occurring within the local migrant community. They framed national events through Irish American eyes and explained the significance of what was happening to newly arrived immigrants who were unfamiliar with American history or culture. They also played a central role in the social life of Irish migrants and provided the comfort that came from knowing that, though they may have been far from home, they were not alone. Taking a long view through the prism of individual newspapers, editors, and journalists, the authors in this volume examine the emergence of the Irish American diaspora press and its profound contribution to the lives of Irish Americans over the course of the last two centuries.
Comics: An Introduction provides a clear and detailed introduction to the Comics form - including graphic narratives and a range of other genres - explaining key terms, history, theories, and major themes. The book uses a variety of examples to show the rich history as well as the current cultural relevance and significance of Comics. Taking a broadly global approach, Harriet Earle discusses the history and development of the form internationally, as well as how to navigate comics as a new way of reading. Earle also pushes beyond the book to lay out the ways that fans engage with their comics of choice - and how this can impact the industry. She also analyses how Comics can work for social change and political comment. Discussing journalism and life writing, she examines how the coming together of word and image gives us new ways to discuss our world and ourselves. A glossary and further reading section help those new to Comics solidify their understanding and further their exploration of this dynamic and growing field.
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