How prisoners serve as media laborers, while the prison serves as a testing ground for new media technologies. Prisons are not typically known for cutting-edge media technologies. Yet from photography in the nineteenth century to AI-enhanced tracking cameras today, there is a long history of prisons being used as a testing ground for technologies that are later adopted by the general public. If we recognize the prison as a central site for the development of media technologies, how might that change our understanding of both media systems and carceral systems? Prison Media foregrounds the ways in which the prison is a model space for the control and transmission of information, a place where media is produced, and a medium in its own right. Examining the relationship between media and prison architecture, as surveillance and communication technologies are literally built into the facilities, this study also considers the ways in which prisoners themselves often do hard labor as media workers—labor that contributes in direct and indirect ways to the latest technologies developed and sold by multinational corporations like Amazon. There is a fine line between ankle monitors and Fitbits, and Prison Media helps us make sense of today’s carceral society.
Throughout history, innovations in media have had a profound impact on protest and dissent. But while these recent developments in social media have been the subject of intense scholarly attention, there has been little consideration of the wider historical role of media technologies in protest. Drawing on the work of key theorists such as Walter Benjamin and Raymond Williams, Crisis and Critique provides a historical analysis of media practices within the context of major economic crises. Through richly detailed case studies of the movements which emerged during three different economic crises – the unemployed workers' movement of the Great Depression, the rent strike movement of the early 1970s and the Occupy Wall Street protests which followed the recession of 2007 – Kaun provides an in-depth analysis of the cultural, economic and social consequences of media technologies, and their role in shaping and facilitating resistance to capitalism.
Based on a 12-year long project, this book demonstrates the contested character of the communicative construction of Europe. It does so by combining an investigation of journalistic practices with content analysis of print media, an examination of citizens' online interactions and audience studies with European citizens.
How prisoners serve as media laborers, while the prison serves as a testing ground for new media technologies. Prisons are not typically known for cutting-edge media technologies. Yet from photography in the nineteenth century to AI-enhanced tracking cameras today, there is a long history of prisons being used as a testing ground for technologies that are later adopted by the general public. If we recognize the prison as a central site for the development of media technologies, how might that change our understanding of both media systems and carceral systems? Prison Media foregrounds the ways in which the prison is a model space for the control and transmission of information, a place where media is produced, and a medium in its own right. Examining the relationship between media and prison architecture, as surveillance and communication technologies are literally built into the facilities, this study also considers the ways in which prisoners themselves often do hard labor as media workers—labor that contributes in direct and indirect ways to the latest technologies developed and sold by multinational corporations like Amazon. There is a fine line between ankle monitors and Fitbits, and Prison Media helps us make sense of today’s carceral society.
This book addresses the socio-technical constitution of civic communication in increasingly digital democracies. Despite problematic phenomena like hate speech in online commenting, it argues that citizens’ potential for resisting technological inscriptions in digital media remains a fundamental democratic right. While producers inscribe anticipations for how people should be discussing political issues into commenting interfaces, citizens still resist these technological inscriptions in their commenting practices. This dialectic interrelation between interfaces and practices highlights the inadequacy of purely technological solutions for undemocratic tendencies in digital media.
My name is Rubina Ali. I don't know when my birthday is, and nor does my father, but I do know that I am nine years old. Young Rubina is a one-in-a-million star. Plucked from among five hundred slumkids who auditioned for Danny Boyle's multi-Oscar-winning film Slumdog Millionaire, she saw her fairy-tale dream of stardom come true. Now that she has stepped into the limelight, what will life hold for a young girl from the Mumbai slums? Rubina tells her own incredible story, bringing to life a world of wastelands and rat-infested shanty dwellings, where she played marbles with her friends beside the sewers of Garib Nagar. She introduces her beloved father, a hardworking rickshaw puller, and her siblings. And then Rubina tells of the kindness of Danny Boyle and of the time she spent on the film sets--including the hilarious incident when her costar came to be covered in chocolate from head to toe. After her brief encounter with red-carpet glamour, how will Rubina come to terms with the conditions in which she, her family, and her friends continue to live since Hollywood came knocking? This is her compelling story.
It was the most providential escape yet. It will probably have the effect of making them think that I am even more mysterious than they believe me to be, and that is saying a good deal.' Michael Collins knew the power of his persona, and capitalised on what people wanted to believe. The image we have of him comes filtered through a sensational lens, exaggerated out of all proportion. We see what we have come to expect: 'the man who won the war', the centre of a web of intelligence that 'brought the British Empire to its knees'. He comes to us as a mixture of truth and lies, propaganda and misunderstanding. The willingness to see him as the sum of the Irish revolution, and in turn reduce him to a caricature of his many parts, clouds our view of both the man and the revolution. Drawing on archives in Ireland, Britain and the United States, the authors question our traditional assumptions about Collins. Was he the man of his age, or was he just luckier, more brazen, more written about and more photographed than the rest? Despite the pictures of him in uniform during the last weeks of his life, Collins saw very little of the actual fight. He was chiefly an organiser and a strategist. Should we remember him as a master of the mundane rather than the romantic figure of the blockbuster film? The eight thematic, highly illustrated chapters scrutinise different aspects of Collins' life: origins, work, war, politics, celebrity, beliefs, death and afterlives. Approaching him through the eyes of contemporaries and historians, friends and enemies, this provocative book reveals new insights, challenging what we think we know about him and, in turn, what we think we know about the Irish revolution.
Throughout history, innovations in media have had a profound impact on protest and dissent. But while these recent developments in social media have been the subject of intense scholarly attention, there has been little consideration of the wider historical role of media technologies in protest. Drawing on the work of key theorists such as Walter Benjamin and Raymond Williams, Crisis and Critique provides a historical analysis of media practices within the context of major economic crises. Through richly detailed case studies of the movements which emerged during three different economic crises – the unemployed workers' movement of the Great Depression, the rent strike movement of the early 1970s and the Occupy Wall Street protests which followed the recession of 2007 – Kaun provides an in-depth analysis of the cultural, economic and social consequences of media technologies, and their role in shaping and facilitating resistance to capitalism.
Exploring how we make, distribute, and consume today’s media systems Media backends--the electronics, labor, and operations behind our screens--significantly influence our understanding of the sociotechnical relations, economies, and operations of media. Lisa Parks, Julia Velkova, and Sander De Ridder assemble essays that delve into the evolving politics of the media infrastructural landscape. Throughout, the contributors draw on feminist, queer, and intersectional criticism to engage with infrastructural and industrial issues. This focus reflects a concern about the systemic inequalities that emerge when tech companies and designers fail to address workplace discrimination and algorithmic violence and exclusions. Moving from smart phones to smart dust, the essayists examine topics like artificial intelligence, human-machine communication, and links between digital infrastructures and public service media alongside investigations into the algorithmic backends at Netflix and Spotify, Google’s hyperscale data centers, and video-on-demand services in India. A fascinating foray into an expanding landscape of media studies, Media Backends illuminates the behind-the-screen processes influencing our digital lives. Contributors: Mark Andrejevic, Philippe Bouquillion, Jonathan Cohn, Faithe J. Day, Sander De Ridder, Fatima Gaw, Christine Ithurbide, Anne Kaun, Amanda Lagerkvist, Alexis Logsdon, Stine Lomborg, Tim Markham, Vicki Mayer, Rahul Mukherjee, Kaarina Nikunen, Lisa Parks, Vibodh Parthasarathi, Philipp Seuferling, Ranjit Singh, Jacek Smolicki, Fredrik Stiernstedt, Matilda Tudor, Julia Velkova, and Zala Volcic
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