Amateur Media

The rise of Web 2.0 has pushed the amateur to the forefront of public discourse, public policy and media scholarship. Typically non-salaried, non-specialist and untrained in media production, amateur producers are now seen as key drivers of the creative economy. This edited collection provides a much-needed interdisciplinary contextualisation of amateur media before and after Web 2.0. Surveying the institutional, economic and legal construction of the amateur media producer via a series of case studies, it features contributions from experts in the fields of law, economics, media studies and literary studies based in the US and Australia.

Amateur Media and Participatory Cultures aims to delineate the boundary line between today’s amateur media practice and the canons of professional media and film practice. Identifying various feasible interpretative frameworks, from historical to anthropological perspectives, the volume proposes a critical language able to cope with amateur and new media’s rapid technological and interpretative developments. Conscious of the fact that amateur media continue to be seen as the benchmark of visual records of authentic rather than mass-media-derived events, Annamaria Motrescu-Mayes and Susan Aasman pay particular attention to the ways in which diverse sets of concepts of amateur media have now merged across global visual narratives and everyday communication protocols. Building on key research questions and content analysis in media and communication studies, they have assessed differences between professional and amateur media productions based on the ways in which the ‘originators’ of an image have been influenced by, or have challenged, their context of production. This proposes that technical skills, degrees of staging and/or censoring visual information, and patterns in media socialisation define central differences between professional and amateur media production, distribution and consumption. The book’s methodical and interdisciplinary approach provides valuable insights into the ways in which visual priming, cultural experiences and memory-building are currently shaped, stored and redistributed across new media technologies and visual channels.

Written by experienced authors and teachers with examining experience, this book will support you through the A-level course and offers high-quality support you can trust. - Provides comprehensive coverage of all the key theory for A-level - Knowledge, understanding and skills are developed throuhgout the book and presented in a highly accessible way - Includes practical approaches to developing skills - Includes updated exam-style questions across both years, to ensure you are fully prepared for assessment - A dedicated chapter on the Non-Examined Assessment element of the specification provides clear guidance on how you will be assessed - An exam preparation chapter offers advice on how to revise and help you refine your exam technique - A range of features including Activities, Tips, Quick Questions, Key Terms and Links help broaden your understanding and encourage independent learning. This Student Book is designed to be used alongside AQA Media Studies for A Level & AS: Close Study Products

Schools remain notorious for co-opting digital technologies to «business as usual» approaches to teaching new literacies. DIY Media addresses this issue head-on, and describes expansive and creative practices of digital literacy that are increasingly influential and popular in contexts beyond the school, and whose educational potential is not yet being tapped to any significant degree in classrooms. This book is very much concerned with engaging students in do-it-yourself digitally mediated meaning-making practices. As such, it is organized around three broad areas of digital media: moving media, still media, and audio media. Specific DIY media practices addressed in the chapters include machinima, anime music videos, digital photography, podcasting, and music remixing. Each chapter opens with an overview of a specific DIY media practice, includes a practical how-to tutorial section, and closes with suggested applications for classroom settings. This collection will appeal not only to educators, but to anyone invested in better understanding - and perhaps participating in - the significant shift towards everyday people producing their own digital media.

This innovative introduction to media studies challenges conventional accounts of what media do to people – focusing instead on what people do with media in the course of everyday life. By rejecting the conventional media studies approach, the book provides a fresh way of thinking about media cultures and provokes thought into how media influences daily social norms. Smartly organized, each chapter offers a broad discussion of various facets of media, such as technology, social media and industries. Key trends and traditions are also considered, helping to define how media has become so entwined in the everyday experience. Written by a respected author and academic in the field, the book offers an accessible overview for students of media, communication and cultural studies looking to explore how modern-day media practices impact on the experience of everyday life, making this the essential companion to introductory media studies courses.

Whether we are watching TV, surfing the Internet, listening to our iPods, or reading a novel, we all engage with media as an audience. Despite the widespread use of this term in our popular culture, the meaning of the "audience" is complex, and it has undergone significant historical shifts as new forms of mediated communication have developed from print, telegraphy, and radio to film, television, and the Internet. John L. Sullivan's second edition of Media Audiences: Effects, Users, Institutions, and Power explores the concept of media audiences from four broad perspectives: as "victims" of mass media, as market constructions & commodities, as users of media, and as producers & subcultures of mass media. The goal is for students to be able to think critically about the role and status of media audiences in contemporary society, reflecting on their relative power in relation to institutional media producers.

The Routledge Handbook of Translation and Media provides the first comprehensive account of the role of translation in the media, which has become a thriving area of research in recent decades. It offers theoretical and methodological perspectives on translation and media in the digital age, as well as analyses of a wide diversity of media contexts and translation forms. Divided into four parts with an editor introduction, the 33 chapters are written by leading international experts and provide a critical survey of each area with suggestions for further reading. The Handbook aims to showcase innovative approaches and developments, bridging the gap between currently separate disciplinary subfields and pointing to potential synergies and broad research topics and issues. With a broad-ranging, critical and interdisciplinary perspective, this Handbook is an indispensable resource for all students and researchers of translation studies, audiovisual translation, journalism studies, film studies and media studies.

We often hear that selves are no longer formed through producing material things at work, but by consuming them in leisure, leading to 'meaningless' modern lives. This important book reveals the cultural shift to be more complex, demonstrating how people in postindustrial societies strive to form meaningful and moral selves through both the consumption and production of material culture in leisure. Focusing on the material culture of food, the book explores these theoretical questions through an ethnography of those individuals for whom food is central to their self: 'foodies'. It examines what foodies do, and why they do it, through an in-depth study of their lived experiences. The book uncovers how food offers a means of shaping the self not as a consumer but as an amateur who engages in both the production and consumption of material culture and adopts a professional approach which reveals the new moralities of productive leisure in self-formation. The chapters examine a variety of practices, from fine dining and shopping to cooking and blogging, and include rare data on how people use media such as cookbooks, food television, and digital food media in their everyday life. This book is ideal for students, scholars, and anyone interested in the meaning of food in modern life.