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Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward

’ [Comics and Their Cultural Identities: Landscapes and Borders], a wide-ranging, clear survey of the many debates around the form of comics, their cultural value, the current and possible future changes brought by digital media and the effects these changes

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Lieke Hettinga and Terrance Wooten

using their own counter-technologies—multimedia performance and film/video, digital art, popular literary memoir, and digital media. Each chapter is networked together in a nonlinear fashion, and sometimes the order seems intentionally and productively

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“We Do Not Exist”

Illness, Invisibility, and Empowerment of Communities Struck by the Fracking Boom

Kristen M. Schorpp

the development and implementation of these advocacy-oriented groups, which were created to provide communities with digital media tools to gather and document evidence about the health risks associated with fracking. Like Gullion, Wylie argues that

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Personal, Powerful, Political

Activist Networks by, for, and with Girls and Young Women

Catherine Vanner and Anuradha Dugal

. “ Left out? Digital media, radical politics and social change ” Information, Communication & Society , 19 ( 3 ): 346 – 361 . . 10.1080/1369118X.2015.1109698 Gonick , Marnina , Emma Renold , Jessica

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Mobilizing Meanings

Translocal Identities of the Far Right Web

Patricia Anne Simpson

. Identitarian Movements and the Immortals The fluent use of digital media combined with nearly revenant imagery characterizes identitarian movements in Europe. Fabian Virchow’s analysis of the identitarian movement in France and its resonance in Germany

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

environment. Before bringing Benjamin’s hermeneutic contention to bear on the work of two American underground filmmakers who were active in the 1960s, I would like to take a final detour through a contemporary use of digital media in the hope of further

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Licht aus–Spot an

How Schlager (ZDF 1969–1984) Beat Disco (ZDF 1971–1982)

Sunka Simon

Goldene Kamera (Germany’s Emmy) for his moderation of the Hitparade , Richter received that honor in 1977 for Disco . Ironically, thanks to digital media, especially YouTube, but also to archival digitization efforts on behalf of the networks, legions of

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Margrethe Bruun Vaage and Gabriella Blasi

has emerged, one must investigate not just the text in its own right but also the context, for example, the constraints of and changes in the television industry, the emergence of digital media, and, last but not least, the reception practices of the

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Brian Bergen-Aurand

on bodies in relation to screens large and small: “cinemautism” by Steven Eastwood, online revenge pornography by Emma Celeste Bedor, the human body as raw material by John Marmysz, and black women’s digital media by Moya Bailey. It also contains two

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Mark McKinney, Jennifer Howell, Ross William Smith, and David Miranda Barreiro

best understood as a myriad of limited regional conflicts played out on an international scale via digital media. Consequently, stories of war – including those told in comics – have become an integral part of (post)modern warfare. Added to this is the