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Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.
is often compartmented into specialised silos, either disciplinary (history, sociology, political sciences, anthropology, media studies) or per domains of intervention (conflicts, protection, global health, nutrition, development). This introduction, and the four pieces that follow, attempt to form links between these silos. One can distinguish between three types of approaches in the critical literature on humanitarian data. The first is positivist . This work focuses on
.arretsurimages.net/articles/bons-baisers-du-kivu-trou-noir-de-linformation (accessed 10 October 2019). 17 Cf. the accounts by embedded journalists in Afghanistan, collected by Romain Mielcarek (himself a PhD in media studies and a journalist) in his thesis ( Mielcarek, 2018 : 361–8). This debate is also happening in more direct and public forms; see, for example, Proust (2018) . 18 Among
outrage about King Leopold’s exploits in the Congo. In King Leopold’s Soliloquy (1905), Mark Twain has his fictional King Leopold curse ‘the incorruptible Kodak’ as ‘the most powerful enemy that has confronted us [and]... the only witness I have encountered in my long experience that I couldn’t bribe’ (cited in Twomey, ‘Framing Atrocity’: 59). Both books under review here explicitly situate themselves at the intersection of scholarship in media studies and visual culture and the sub
study presents data from fieldwork observations of a digital work project developed for Venezuelan refugee women in Brazil, which will help to address these research gaps. Spatial Imaginaries, Refugee Connectivity and the Digital Economy In the wake of the so-called ‘spatial turn’ in media studies, frameworks from human and cultural geography have been widely adopted to explain how mediated spaces are produced at different scales ( Graham, 2015 ). In
. ( 2016 ), ‘ Tinder and Humanitarian Hook-Ups: The Erotics of Social Media Racism ’, Feminist Media Studies , 16 : 5 , 822 – 37 . Mathers , K. and Hubbard , L. ( 2009 ), ‘ Doing Africa: Travelers, Adventurers, and American Conquest of Africa ’, in Vivanco
Throughout its brief history, photography has had a close relationship to social movements. From the Commune of Paris in 1871, the first political uprising to be captured by camera, to the 1990s anti-globalisation movement, the photographic medium has played a crucial role in political struggles. The book reflects critically on the theory of photography and the social movements themselves. It draws on a range of humanities disciplines, including photography theory and history, social movement theory, political theory, cultural history, visual culture, media studies and the history and theory of art. The book takes as a starting point 1968 - a year that witnessed an explosion of social movements worldwide and has been interpreted as a turning point for political practice and theory. The finishing point is 2001 - a signpost for international politics due to September 11 and a significant year for the movement because of the large-scale anti-capitalist protests in Genoa. Within these chronological limits, the book focuses on a selection of distinctive instances in which the photographic medium intersects with the political struggle. The three case studies are not the only pertinent examples, by any means, but they are important ones, not only historically and politically, but also iconographically. They are the student and worker uprising in France in May 1968 and two moments of the contemporary anti-capitalist movement, the indigenous Zapatista movement in Mexico and the anti-capitalist protests in Genoa in 2001.
There are any number of fiction and non-fiction texts which challenge, articulate or reinterpret many of the central tensions within the documentary form. Of the non-fiction texts, the most significant have perhaps been reflexive documentaries. This book is primarily intended to introduce ideas about mock-documentary to students and academics working within media and documentary studies. It examines those fictional texts which to varying degrees 'look' (and sound) like documentaries. This group of texts have been labelled using a variety of terms; 'faux documentary', 'pseudo-documentary', 'mocumentary', 'cinéma vérité with a wink', 'cinéma un-vérité', 'black comedy presented as in-your-face documentary', 'spoof documentary' and 'quasi-documentary'. The book includes some discussion of the tensions within the genre, in particular where different codes and conventions appeal to competing, often contradictory, cultural understandings of how 'reality' can be represented. It looks to outline the nature of the more recent expansion of textual concerns and representational strategies employed by documentary filmmakers. Mock-documentary represents only one instance of a continuum of fictional texts which are characterised by a blurring of the line between fact and fiction. The book compares these contrasting screen forms, concentrating especially on the nature of the distinctive relationships which they each construct towards the documentary genre. It introduces a schema of three 'degrees' of mock-documentary, in part reflecting the diversity in the nature and extent of these texts' appropriation of documentary aesthetics. A speculative genealogy for the mock-documentary as a distinctive screen form is outlined.
magazine, or a new image technique like photocollage, but also mediums such as the shop window or conceptual project as a mode for artistic expression. Although this has 11 12 Travelling images not been the object of this study a possible explanation, informed by recent media studies, for the appraisal of fashion photography in the 1920s, as put forward by Steinworth, might be the establishment of the photographic illustrated press in the 1920s. It is also worth noting that it was only certain images, in the form of patterns, motifs, designs or contents that
5 Approaching the invisible centre: middle-class identity and documentary film So far in this book I have considered various engagements with screen documentary made by viewers other than myself. In this chapter I turn attention to some of my own responses to documentary films, and explore how my identity, particularly its middleclass aspect, has shaped these reactions. The purpose behind this move is not to wallow in narcissism, nor to ‘restore’ a middleclass, white and male subjectivity to the centre stage of film and media studies – if it has ever been truly