Cli-fi in Other Media

2020 ◽  
pp. 171-189
Author(s):  
Andrew Milner ◽  
J.R. Burgmann
Keyword(s):  
Short Stories ◽  
Popular Music ◽  
Print Media ◽  
Graphic Novels ◽  
Visual Media ◽  
Positive Adaptation ◽  
Wide Range ◽  
Climate Fiction ◽  
Narrative Forms ◽  
Climate Crisis

This chapter explores cli-fi in other print media (short stories, published poetry, comics and graphic novels), recorded popular music (folk and rock), and audio-visual media (cinema, television and videogames). It identifies rhetorically effective instances of cli-fi from a wide range of media, notably Carol Ann Duffy’s ‘Keep It in the Ground’, Brian Wood’s The Massive, Anohni’s Hopelessness, Franny Armstrong’s The Age of Stupid and Darren Aronofsky’s Noah. But it concludes, nonetheless, that it is in cli-fi novels and trilogies, especially those that deal with mitigation and negative or positive adaptation, that the major effort to respond to the climate crisis has taken shape. The more general conclusion, then, is that longer narrative forms seem best suited to climate fiction.

Promosi Dan Informasi Media Audio Visual Berbentuk Video Profile Pada SMK PGRI 11 Ciledug Kota Tangerang

CICES ◽  
2017 ◽  
Vol 3 (1) ◽  
pp. 35-47
Author(s):  
Faisal Rudiansyah Hamzah ◽  
Panji Wira Soma ◽  
Indri Rahmawati
Keyword(s):  
Information Technology ◽  
Print Media ◽  
Visual Media ◽  
Message Delivery ◽  
The Public ◽  
Existing Problems ◽  
The Media ◽  
The Right

With the development of information technology in particular in the field of multimedia in such rapid and the longer forms of media information more diverse so that more education institutions boast. Media information and promotion is currently used by SMK PGRI 11 Ciledug Tangerang. The purpose of this research audio visual media into the media information and proper promotion, by controlling hearing and vision in the form of audio visual in order to convey messages can be understood by the public at large. Existing problems, namely the medium used by the SMK PGRI 11 Ciledug Tangerang still use print media such as banners, posters and pamplet are considered less effective and efficient to use while simultaneously promoting the institutions with the best possible audio visual media so that it is selected into a medium of information and promotion of the right, by controlling hearing and vision in the form of audio visual. Because therein lies the message delivery process or how to visualize. At the same time listening and showing the contents of the message to the recipient with information through media menunjangnya, so the design of video media profile that displays the entire scope, advantages and facilities belonging to SMK PGRI 11 Ciledug Tangerang, can be a solution in solving problems in media promotion and information. With this study the author makes with the title "promotion and INFORMATION AUDIO VISUAL MEDIA SHAPED VIDEO PROFILE on SMK PGRI 11 APPLICATIONS TANGERANG CITY ".

On the Margins of Modernism

2017 ◽  
Author(s):  
Christopher Rosenmeier
Keyword(s):  
Short Stories ◽  
Detailed Analysis ◽  
Chinese Literature ◽  
Popular Literature ◽  
Extensive Study ◽  
Wide Range ◽  
Chinese Fiction ◽  
Scant Attention ◽  
Narrative Techniques ◽  
Chinese Writing

Xu Xu and Wumingshi were among the most widely read authors in China during and after the Second Sino-Japanese War (1937–1945). Despite being an integral part of the Chinese literary scene, their bestselling fiction has, however, been given scant attention in histories of Chinese writing. This book is the first extensive study of Xu Xu and Wumingshi in English or any other Western language and it re-establishes their importance within the popular Chinese literature of the 1940s. Their romantic novels and short stories were often set abroad and featured a wide range of stereotypes, from pirates, spies and patriotic soldiers to ghosts, spirits and exotic women who confounded the mostly cosmopolitan male protagonists. Christopher Rosenmeier’s detailed analysis of these popular novels and short stories shows that such romances broke new ground by incorporating and adapting narrative techniques and themes from the Shanghai modernist writers of the 1930s, notably Shi Zhecun and Mu Shiying. The study thereby contests the view that modernism had little lasting impact on Chinese fiction, and it demonstrates that the popular literature of the 1940s was more innovative than usually imagined, with authors, such as those studied here, successfully crossing the boundaries between the popular and the elite, as well as between romanticism and modernism, in their bestselling works.

Myths of the Underworld in Contemporary Culture

2019 ◽  
Author(s):  
Judith Fletcher
Keyword(s):  
Short Stories ◽  
Case Studies ◽  
Joseph Conrad ◽  
Ezra Pound ◽  
Border Crossing ◽  
First Century ◽  
Contemporary Culture ◽  
Cinematic Adaptation ◽  
Narrative Tradition ◽  
Wide Range

Stories of a visit to the realm of the dead and a return to the upper world are among the oldest narratives in European literature, beginning with Homer’s Odyssey and extending to contemporary culture. This volume examines a series of fictional works by twentieth- and twenty-first century authors, such Toni Morrison and Elena Ferrante, which deal in various ways with the descent to Hades. Myths of the Underworld in Contemporary Culture surveys a wide range of genres, including novels, short stories, comics, a cinematic adaptation, poetry, and juvenile fiction. It examines not only those texts that feature a literal catabasis, such as Neil Gaiman’s Sandman series, but also those where the descent to the underworld is evoked in more metaphorical ways as a kind of border crossing, for instance Salman Rushdie’s use of the Orpheus myth to signify the trauma of migration. The analyses examine how these retellings relate to earlier versions of the mythical theme, including their ancient precedents by Homer and Vergil, but also to post-classical receptions of underworld narratives by authors such as Dante, Ezra Pound, and Joseph Conrad. Arguing that the underworld has come to connote a cultural archive of narrative tradition, the book offers a series of case studies that examine the adaptation of underworld myths in contemporary culture in relation to the discourses of postmodernism, feminism, and postcolonialism.

Mainstream Superhero Comics and Gendered Representations of Social Control

2017 ◽  
Author(s):  
Hope Hutchins
Keyword(s):  
Content Analysis ◽  
Social Control ◽  
Police Officers ◽  
Qualitative Content Analysis ◽  
Graphic Novels ◽  
Real Life ◽  
Women Police Officers ◽  
Wide Range ◽  
Media Constructions ◽  
Women Police

In the context of increasing familiarity with mainstream superhero comics and their characters, a wide range of readers are being exposed to the values regarding gender and social control being communicated in this genre. Therefore, it is important to assess whether social control is signified differently for males and females in superhero comics. This presentation will begin with a discussion of why it is important to study comics and graphic novels. I will then outline the concept of social control and criminological theories centered on this idea before demonstrating why superheroes may be understood as agents of social control. This will bring me to a discussion of preliminary findings of a qualitative content analysis of issues of Batman, Captain America, Wonder Woman, Ms Marvel, Justice League of America, and New Avengers comics released from May to October 2007. In examining the leadership positions, the formal and informal methods employed, those over whom social control is exercised, and relative success of each superhero in these issues, I am seeking to assess whether social control is portrayed as being exercised by male and female superheroes in different ways and to identify how this happens. The results of this content analysis will be compared with previous studies of women police officers to assess whether representations of female agents of social control in superhero comics are consistent with the experiences of real‐life criminal justice practitioners. Finally, the reasons for and implications of the nature of such media constructions will be briefly explored to encourage other students to study comics and graphic novels.

Sport and Society in Global France

2019 ◽  
Author(s):  
Cathal Kilcline
Keyword(s):  
Popular Music ◽  
Social Cohesion ◽  
Social Issues ◽  
Television Advertising ◽  
Sports Industry ◽  
Wide Range ◽  
Post Industrial ◽  
Privileged Site

From Zinedine Zidane to Lance Armstrong and from Michael Jordan to Marie-José Pérec, over the last thirty years, numerous individuals have emerged through the global sports industry to capture the imagination of the French public and become touchstones for the discussion of a host of social issues. This book provides new insights into the evolution of the global sporting spectacle through a study of star athletes, emblematic organisations, key locations, and celebrated moments in French sport from the mid-1980s to the present day. It draws on a wide range of sources, from film, television, advertising, newspapers, and popular music to cover key developments in sports including football, motorsport, basketball, and cycling. Sport here emerges as a privileged site for the discussion of the nature of contemporary nationhood, as well as for the performance of France’s postcolonial heritage. Simultaneously, sport provides a platform for the playing out of concerns over globalisation, and, in a time of post-industrial uncertainty, for nostalgic reminiscences of an apocryphal bygone era of social cohesion. The exploration of these themes leads to new understandings of the ways sport influences and is implicated in broader social and cultural concerns in France today.

A Periodical of Their Own: Feminist Writing in Religious Print Media

2018 ◽  
Author(s):  
Jacqueline R. deVries
Keyword(s):  
Interwar Period ◽  
Print Media ◽  
Leadership Roles ◽  
Religious Traditions ◽  
Religious Media ◽  
Time Period ◽  
Wide Range ◽  
Institutional Structures ◽  
Feminist Writing ◽  
And Gender

In this volume’s rich survey of women’s print media in the interwar period, it might be surprising to find a chapter on feminist writing in religious periodicals – that is, if one assumes that Britain’s religious traditions were inhospitable contexts for feminist organising during this time period. But that assumption would not be entirely correct. The Anglican, Catholic, and Jewish communities in Britain – the three traditions explored here – certainly clung to theological and institutional structures that prevented women from moving freely or quickly into leadership roles. But these communities were never homogenous and their members expressed a wide range of attitudes about gender, sexuality, and women’s roles, some of which were highly progressive and found their way into print. The changing social and gender norms of the interwar period were much debated topics in Britain’s religious communities, and through their engagement with religious media, women found ways to influence those debates.

scholarly journals ‘Agitate, educate, organise’: partisanship, popular music and the Northern Ireland conflict

Popular Music ◽  
2020 ◽  
Vol 39 (2) ◽  
pp. 233-256
Author(s):  
Sean Campbell
Keyword(s):  
Northern Ireland ◽  
Popular Music ◽  
Visual Media ◽  
Archival Research ◽  
Hunger Strike ◽  
The Troubles ◽  
Specific Performance ◽  
Northern Ireland Conflict ◽  
Performance Strategies

AbstractThis article explores popular-musical invocations of the Northern Ireland conflict (1968–1998), focussing specifically on the period between the IRA hunger strike of 1981 and the British Government's Broadcasting Act in 1988. Whilst most songs addressed to the ‘Troubles’ were marked by (lyrical) abstraction and (political) non-alignment, this period witnessed a series of efforts that issued upfront and partisan views. The article explores two such instances – by That Petrol Emotion and Easterhouse – addressing each band's respective views as well as the specific performance strategies that they deployed in staging their interventions. Drawing on original interviews that the author has conducted with the musicians – alongside extensive archival research of print and audio/visual media – the article explores the bands’ songs in conjunction with salient ancillary media (such as record sleeves, videos and interviews), yielding a more nuanced account of popular music's engagement with the ‘Troubles’ than has been offered in existing work (which often assumes the form of broad surveys).

scholarly journals Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music

2019 ◽  
Vol 3 (1) ◽  
pp. 195-206 ◽  
Author(s):  
Michael Spanu
Keyword(s):  
Social Norms ◽  
Popular Music ◽  
Middle Ages ◽  
Digital Technologies ◽  
Wide Range ◽  
Religious Control ◽  
Local Languages ◽  
The Middle Ages

Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.

scholarly journals Mediating Climate, Mediating Scale

Humanities ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 159
Author(s):  
Anne Pasek
Keyword(s):  
Best Practices ◽  
Negative Emotion ◽  
Formal Analysis ◽  
Double Bind ◽  
The Public ◽  
Wide Range ◽  
The Public Sphere ◽  
A Site ◽  
Climate Crisis ◽  
Modes Of Engagement

Climate communication is seemingly stuck in a double bind. The problem of global warming requires inherently trans-scalar modes of engagement, encompassing times and spaces that exceed local frames of experience and meaning. Climate media must therefore negotiate representational extremes that risk overwhelming their audience with the immensity of the problem or rendering it falsely manageable at a local scale. The task of visualizing climate is thus often torn between scales germane to the problem and scales germane to individuals. In this paper I examine how this scalar divide has been negotiated visually, focusing in particular on Ed Hawkins’ 2016 viral climate spiral. To many, the graphic represents a promising union of political and scientific communication in the public sphere. However, formal analysis of the gif’s reception suggest that the spiral was also a site of anxiety and negative emotion for many viewers. I take these conflicting interpretations as cause to rethink current assumptions about best practices and desirable outcomes for scalar mediations of climate and their capacities to mobilize a wide range of reactions and interpretations—some more legibly political and some more complicatedly affective, yet all nevertheless integral to the work of building a holistic response to the climate crisis.

Jewish Art, Modern and Contemporary

Art History ◽  
2014 ◽  
Author(s):  
Maya Balakirsky Katz
Keyword(s):  
Art History ◽  
Visual Analysis ◽  
Fine Arts ◽  
Visual Media ◽  
Jewish Studies ◽  
Academic Disciplines ◽  
Jewish Art ◽  
Wide Range ◽  
Modern Artists ◽  
Academic Study

This article takes a minimalist approach to the designation of “Jewish” in the category of “Jewish art,” focusing primarily on works that directly engage the modern Jewish experience and the role that Jews have played in the development of new visual media in the 19th and 20th centuries. At the same time, this article takes a maximalist approach to what is meant by the term “art” by including a wide range of visual mediums. The academic study of Jews in the arts can be traced to Germany in the mid-19th century, when both art history and Jewish studies were relatively new academic disciplines. While art history devalued Jewish art as derivative in the context of the development of modern national identities, Jewish studies devalued non-textual sources for academic study. It was the interdisciplinary field of Jewish art that would serve to negotiate biases from both academic branches, proving influential in the development of iconographic interpretation by promoting critical attention to the narrative function of a wide variety of mediums. This article traces the extent to which Jewish studies scholars have compensated for earlier disciplinary tensions by questioning the premise of nationalist models for art history and how they have broadened the criteria for visual analysis in the study of Jewish art. Although some of the most recognized modern artists are Jewish, the focus here is more narrowly dedicated to those artists and visual media that have secured a place within Jewish studies. In recent decades, scholars of Jewish art have forged an accessible path by adopting more of a “visual culture” approach that considers production and consumption of Jewish content in the plastic arts in non-hierarchical terms. Because Jewish studies touch on a wide range of disciplines, the study of Jewish art has come to include the material aspects of vernacular life (decorative art and handicraft) and popular media (stage design, photography, film) as well as the traditional fine arts (architecture, sculpture, and painting) within schools of style (Impressionism, Futurism, Abstract Expressionism). Scholars of Jewish art have largely avoided the high/low debate typical of other branches of art history by emphasizing the experiential aspect of Jewish objects of all types. This article is a survey of modern and contemporary Jewish art from approximately 1850 to 1990, when Jews participated in the artistic mainstream, and points to the considerable scholarly attention Jewish studies have placed on art as a comprehensive experience rather than a purely aesthetic one. The article opens with second-order categories, then moves to scholarship devoted to issues that are central to the field, such as nationalism and Jewish/non-Jewish relations, and closes with scholarship devoted to diverse media.

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