Camcorder AIDS activism is a prime example of a new form of political expression--an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon--why and how video has become the medium for so much AIDS activism--she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media's form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of community identity and self-empowerment. An AIDS videomaker herself, Juhasz writes from the standpoint of an AIDS activist and blends feminist film critique with her own experience. She offers a detailed description of alternative AIDS video, including her own work on the Women's AIDS Video Enterprise (WAVE). Along with WAVE, Juhasz discusses amateur video tapes of ACT UP demonstrations, safer sex videos produced by Gay Men's Health Crisis, public access programming, and PBS documentaries, as well as network television productions. From its close-up look at camcorder AIDS activism to its critical account of mainstream representations, AIDS TV offers a better understanding of the media, politics, identity, and community in the face of AIDS. It will challenge and encourage those who hope to change the course of this crisis both in the 'real world' and in the world of representation.
More important than flagging things “really fake” is to understand why they are dismissed as fake The new truth is the one that circulates: digital truth emerges from lists, databases, archives, and conditions of storage. Multiple truths may be activated through search, link, and retrieve queries. Alexandra Juhasz, Ganaele Langlois, and Nishant Shah respond by taking up story, poetry, and other human logics of care, intelligence, and dignity to explore sociotechnological and politico-aesthetic emergences in a world where information overload has become a new ontology of not-knowing. Their feminist digital methods allow considerations of internet things through alternative networked internet time: slowing down to see, honor, and engage with our past; invoking indeterminacy as a human capacity that lets multiple truths commingle on a page or in a body; and saving the truths of ourselves and our others differently from the corporate internet’s perpetual viral movement. Writing across their own shared truisms, actors, and touchstones, the authors propose creative tactics, theoretical overtures, and experimental escape routes built to a human scale as ways to regain our capacities to know and tell truths about ourselves.
Camcorder AIDS activism is a prime example of a new form of political expression--an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon--why and how video has become the medium for so much AIDS activism--she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media's form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of community identity and self-empowerment. An AIDS videomaker herself, Juhasz writes from the standpoint of an AIDS activist and blends feminist film critique with her own experience. She offers a detailed description of alternative AIDS video, including her own work on the Women's AIDS Video Enterprise (WAVE). Along with WAVE, Juhasz discusses amateur video tapes of ACT UP demonstrations, safer sex videos produced by Gay Men's Health Crisis, public access programming, and PBS documentaries, as well as network television productions. From its close-up look at camcorder AIDS activism to its critical account of mainstream representations, AIDS TV offers a better understanding of the media, politics, identity, and community in the face of AIDS. It will challenge and encourage those who hope to change the course of this crisis both in the 'real world' and in the world of representation.
More important than flagging things “really fake” is to understand why they are dismissed as fake The new truth is the one that circulates: digital truth emerges from lists, databases, archives, and conditions of storage. Multiple truths may be activated through search, link, and retrieve queries. Alexandra Juhasz, Ganaele Langlois, and Nishant Shah respond by taking up story, poetry, and other human logics of care, intelligence, and dignity to explore sociotechnological and politico-aesthetic emergences in a world where information overload has become a new ontology of not-knowing. Their feminist digital methods allow considerations of internet things through alternative networked internet time: slowing down to see, honor, and engage with our past; invoking indeterminacy as a human capacity that lets multiple truths commingle on a page or in a body; and saving the truths of ourselves and our others differently from the corporate internet’s perpetual viral movement. Writing across their own shared truisms, actors, and touchstones, the authors propose creative tactics, theoretical overtures, and experimental escape routes built to a human scale as ways to regain our capacities to know and tell truths about ourselves.
As the horror subgenre du jour, found footage horror's amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror's dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube's popular rise in sparking the subgenre's recent renaissance.
The latest edition of this must-have text book promises an evidence-based and practical approach covering the very latest in cardiorespiratory care. The textbook covers a wide range of cardiorespiratory conditions and discusses treatment of patients in different clinical settings such as critical care, the ward area and out-patient departments. It begins with physiology and pathology and progresses into a detailed patient assessment section and a discussion of specific respiratory and cardiac conditions. The final section covers different groups of people who may require physiotherapy such as infants, children, and adults with specific conditions including a considered section on palliative care. Critical thinking is facilitated by clinical reasoning boxes in the text, and problem-solving is aided by case studies at the end of each chapter. There are also relevant practice tips to enable transfer of learning into the clinical environment. The text is supported by over 280 line drawings and diagrams along with over 70 x-rays and photographs to further illustrate the points under discussion. - Q & A case studies, with scans and x-rays - Outcome measures for problems and diseases - Boxes with learning and practice tips to encourage reflection - Tables with definitions, normal values and comparisons - Practical techniques described with precision - Expanded cardiovascular section - Updated practical details on physiotherapy techniques - Extra chapters on surgical complications and interventions - Comprehensive coverage of Critical Care procedures and rehabilitation - Practicalities of the management of children and infants Update on the evaluation of outcomes
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