scholarly journals Man with a Movie Camera: Economy of Movement and ASMR Videos on Youtube

2020 ◽  
Vol 2 (1) ◽  
pp. 104-119
Author(s):  
Alina S. Holmowaia ◽  
Maria S. Danzis
Keyword(s):  
Media Culture ◽  
Domestic Life ◽  
Dziga Vertov ◽  
Tingling Sensation ◽  
Constructivist Perspective ◽  
Contemporary Media ◽  
Economy Of Movement ◽  
Upper Spine ◽  
Movie Camera ◽  
Life Movement

The article examines the ASMR phenomena through the perspective of early USSR philosophy of technic, especially, of the constructivist movement (Gan, Ginzburg) and of works of film director Dziga Vertov. Autonomous sensory meridian response (ASMR) is a tingling sensation that typically begins on the scalp and moves down the back of the neck and upper spine. The aim of research is to reconstruct the notion of «movement», «machine» and «technique» in constructivist writings and to transfer this notion on contemporary media culture. For the analysis authors use ASMR videos on Youtube in order to discover new possible connotations of the term «movement» in a constructivist perspective. The ASMR phenomena could be considered as a merge of Haraway’s cyborg metaphor and the constructivist conception of domestic life, movement and technique.

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.

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.

Dziga Vertov

2015 ◽  
Author(s):  
Alla Gadassik
Keyword(s):  
Soviet Union ◽  
Early Adulthood ◽  
Human Beings ◽  
Media Technology ◽  
Subsequent Work ◽  
Avant Garde ◽  
Political Cinema ◽  
The Soviet Union ◽  
Dziga Vertov ◽  
Movie Camera

Dziga Vertov (b. 1896, Bialystok, Russian Empire–d. 1954, Moscow, USSR) was a pioneering Soviet filmmaker, whose films and manifestos played a central role in 20th century documentary, experimental film, and political cinema traditions. Working in the USSR in the 1920s–1950s, Vertov led the radical Kino-Eye (Cine-Eye) collective, which championed a new film language that would draw on the unique mechanical and audiovisual properties of cinematography, rather than on theatre or literature traditions. His polemical resistance to narrative fiction films contributed to the development of avant-garde documentary techniques in the Soviet Union and abroad. Long after Vertov fell out of favor in his native country, his work continued to influence international documentary cinema and political media groups. Born as David Abelevich Kaufman, Dziga Vertov adopted his pseudonym in early adulthood, and his subsequent work often blurs the lines between the filmmaker’s personal experiences and ideas ascribed to his alter ego. This split between Vertov’s personal life and his constructed persona reflected his belief that cinema, too, could simultaneously document observed reality and construct an entirely new reality from captured slices of life. Vertov maintained that filmmakers should seek out and expose the hidden social and political forces that govern life, using moving images and sound to shape spectator consciousness. His films were in dialogue with several avant-garde art movements, and he often experimented with different film techniques in hopes of both depicting and transforming reality. Moreover, Vertov argued that media technology, especially the movie camera and the wireless radio, would radically change how human beings navigated the world and how they understood their place in society. His theoretical writings are foundational to the discipline of film studies and to writings on film cinematography and montage. His seminal 1929 film Man with a Movie Camera (Chelovek s Kinoapparatom) is a cornerstone of film courses worldwide.

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.

scholarly journals V-v-Vertov R-r-Re-Made

2014 ◽  
Vol 9 (1) ◽  
pp. 77-106 ◽  
Author(s):  
Peter Ole Pedersen ◽  
Jan Løhmann Stephensen
Keyword(s):  
Digital Media ◽  
Documentary Film ◽  
Participatory Culture ◽  
New Materialism ◽  
Film Genre ◽  
Avant Garde ◽  
American Artist ◽  
Dziga Vertov ◽  
Film Language ◽  
Movie Camera

Abstract The seminal work of pioneering avant-garde filmmaker Dziga Vertov, The Man with the Movie Camera (Chevolek s kino-apparatom, 1929) has given rise to a number of discussions about the documentary film genre and new digital media. By way of comparison with American artist Perry Bard’s online movie project entitled Man With a Movie Camera: The Global Remake (2007), this article investigates the historical perspective of this visionary depiction of reality and its impact on the heralded participatory culture of contemporary digital media, which can be traced back to Russian Constructivism. Through critical analysis of the relation between Vertov’s manifest declarations about the film medium and his resulting cinematic vision, Bard’s project and the work of her chief theoretical inspiration Lev Manovich are examined in the perspective of ‘remake culture,’ participatory authorship and the development a documentary film language. In addition to this, possible trajectories from Vertov and his contemporary Constructivists to recent theories of ‘new materialism’ and the notion of Man/Machine-co-operation is discussed in length.

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