scholarly journals Book Reviews

2017 ◽  
Vol 10 (2) ◽  
pp. 103-115
Author(s):  
David Miranda-Barreiro ◽  
Michelle Herte ◽  
Joe Sutliff Sanders ◽  
Mark McKinney
Keyword(s):  
Media Culture ◽  
Graphic Novel ◽  
Bande Dessinee ◽  
Contemporary Media ◽  
Lincoln University

Santiago García (trans. Bruce Campbell), On the Graphic Novel (Jackson: University Press of Mississippi, 2015). 375 pp. ISBN: 978-1-49681-318-3 ($30)Jan-Noël Thon, Transmedial Narratology and Contemporary Media Culture, Frontiers of Narrative (Lincoln: University of Nebraska Press, 2016). 527 pp. ISBN: 978-0-80-327720-5 (€50.99)Thierry Bellefroid, ed., L’Âge d’Or de la bande dessinée belge: La Collection du Musée des Beaux-Arts de Liège (Brussels: Les Impressions Nouvelles, 2015). 96 pp. ISBN: 978-2-87-449232-7 (€19.50)Philippe Delisle, Petite histoire politique de la BD belge de langue française: Années 1920–1960 (Paris: Karthala, 2016). 199 pp. ISBN: 978-2-81- 111717-7 (€15)

scholarly journals Symbolic Amateurs: On the Discourse of Amateurism in Contemporary Media Culture

2012 ◽  
Vol 19 (1) ◽  
Author(s):  
Caroline Hamilton
Keyword(s):  
Professional Development ◽  
Modern Society ◽  
Media Culture ◽  
Work Role ◽  
Professional Work ◽  
Network Economy ◽  
Contemporary Media ◽  
Industrial Network ◽  
Post Industrial

The amateur is the person who engages in activities that for another constitute a professional work role. Despite the global drive for professional development, amateurs are increasingly valued in the digitised economy. This leads to a series of interesting and increasingly pressing questions with regard to the nature of ‘the amateur’ in modern society and culture. Are amateurs necessarily good? Is amateurism necessarily located with amateur practitioners? Do divisions between professional producers and amateurs hold relevance to a post-industrial, network economy?

scholarly journals Idols of Promotion: The Triumph of Self-Branding in an Age of Precarity

2019 ◽  
Author(s):  
Brooke Erin Duffy ◽  
Jefferson Pooley
Keyword(s):  
Social Media ◽  
Qualitative Analysis ◽  
Media Culture ◽  
Self Presentation ◽  
Precarious Employment ◽  
Talk Show ◽  
Popular Magazine ◽  
Contemporary Media

By analyzing the “mass idols” (Lowenthal, 1944) of contemporary media culture, this study contributes to our understanding of popular communication, branding, and social media self-presentation. Leo Lowenthal, in his well-known analysis of popular magazine biographies, identified a marked shift in mass-mediated exemplars of success: from self-made industrialists and politicians (idols of production) to screen stars and athletes (idols of consumption). Adapting his approach, we draw upon a qualitative analysis of magazine biographies (People and Time, n = 127) and social media bios (Instagram and Twitter, n = 200), supplemented by an inventory of television talk show guests (n = 462). Today's idols, we show, blend Lowenthal's predecessor types: they hail from the sphere of consumption, but get described –and describe themselves –in production terms. We term these new figures “idols of promotion,” and contend that their stories of self-made success –the celebrations of promotional pluck –are parables for making it in a precarious employment economy.

Book Reviews

2021 ◽  
Vol 14 (1) ◽  
pp. 89-95
Author(s):  
Fransiska Louwagie ◽  
Benoît Crucifix
Keyword(s):  
New York ◽  
Comic Books ◽  
Graphic Novels ◽  
Bande Dessinee ◽  
The Holocaust

Ewa Stańczyk, ed., Comic Books, Graphic Novels and the Holocaust: Beyond Maus. (Abingdon and New York: Routledge, 2020). 142 pp. ISBN: 9780367585921 (£29.59)Vittorio Frigerio, Bande dessinée et littérature: Intersections, fascinations, divergences (Macerata: Quodlibet, 2018). 96 pp. ISBN: 9788822902573 (€10.00)

Bande dessinée

2020 ◽  
pp. 403-410
Author(s):  
Mark McKinney
Keyword(s):  
Graphic Novel ◽  
French Colonialism ◽  
Post Colonial ◽  
Bande Dessinee

Some contemporary French cartoonists have published comics that either themselves serve as post-colonial lieux de mémoire in place of disappeared colonial people, places, events or objects, or that otherwise recall colonial lieux de mémoire. The graphic novel Cannibale (2009), adapted by Emmanuel Reuzé from Didier Daeninckx's eponymous prose novel (1998), returns to the International Colonial Exhibition in Paris, which has become a post-colonial lieu de mémoire. The 1931 event, staged at the zenith of French imperial rule, and overseen by Maréchal Lyautey, was grandiose in conception, size and scope, and racist too, in fact. Both versions of Cannibale feature a Kanak narrator sent to perform as a New Caledonian cannibal in the Parisian exhibition. This essay analyzes how Reuzé uses cartooning techniques such as visual symbolism, subjective viewpoints, visual and verbal narration, inset images, and visual rhymes to critique French colonialism and to commemorate its victims.

scholarly journals “Talk to Each Other Like It’s 1995”: Mapping Nostalgia for the 1990s in Contemporary Media Culture

2020 ◽  
Vol 21 (6) ◽  
pp. 574-580 ◽  
Author(s):  
Neil Ewen
Keyword(s):  
Media Culture ◽  
Short Article ◽  
Contemporary Media

Twenty years on from Television & New Media’s first issue, we find ourselves in an era defined by fracture, anger, anxiety, and nervousness. This short article considers one notable response to this crisis: nostalgia for the 1990s manifesting across a number of cultural fields, including television, music, and celebrity.

The Televisualization of Ritual

2018 ◽  
Author(s):  
Monika Kopytowska
Keyword(s):  
Sacred Space ◽  
Media Culture ◽  
Religious Institutions ◽  
Underlying Assumption ◽  
Time Space ◽  
Cognitive Operations ◽  
Collective Experience ◽  
Contemporary Media ◽  
Spiritual Reality

This chapter demonstrates how contemporary ‘media culture’ has altered the way we experience and communicate religion and explains the role which language and other semiotic resources play in mediating religious experience and transforming the notion of sacred space, sacred time and a sense of communion based on collective emotion. The underlying assumption is that media together with religious institutions proximize the spiritual reality to believers and create a community of the faithful by reducing various dimensions of distance and providing the audience with a sense of participation and interaction. The chapter focuses on mediated rituals and demonstrates how both TV and radio, with their semiotic properties enabling liveness and immediacy, blur time-space boundaries, change the nature of individual and collective experience, and enhance the emotional and axiological potential of religious messages. It discusses the role of metaphor and metonymy as well as other cognitive operations within discourse space (involving both verbal and visual strategies) in these processes.

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