Captured By The Media

This book turns on the television, opens the newspaper, goes to the cinema and assesses how punishment is performed in media culture, investigating the regimes of penal representation and how they may contribute to a populist and punitive criminological imagination. It places media discourse in prisons firmly within the arena of penal policy and public opinion, suggesting that while Bad Girls, The Shawshank Redemption, internet jail cams, advertising and debates about televising executions continue to ebb and flow in contemporary culture, the persistence of this spectacle of punishment - its contested meaning and its politics of representation - demands investigation. Alongside chapters addressing the construction of popular images of prison and the death penalty in television and film, Captured by the Media also has contributions from prison reform groups and prison practitioners which discuss forms of media intervention in penal debate. This book provides a highly readable exploration of media discourse on prisons and punishment, and its relationship to public attitudes and government penal policy. At the same time it engages with the 'cultural turn' within criminology and offers an original contribution to discussion of the relationship between prison, public and the state. It will be essential reading for students in both media studies and criminology as well as practitioners and commentators in these fields.

Who controls the media today? There are many media systems across the globe that claim to be free yet whose independence has been eroded. As demagogues rise, independent voices have been squeezed out. Corporate-owned media companies that act in the service of power increasingly exercise soft censorship. Tech giants such as Facebook and Google have dramatically changed how people access information, with consequences that are only beginning to be felt. This book features pathbreaking analysis from journalists and academics of the changing nature and peril of media capture—how formerly independent institutions fall under the sway of governments, plutocrats, and corporations. Contributors including Emily Bell, Felix Salmon, Joshua Marshall, Joel Simon, and Nikki Usher analyze diverse cases of media capture worldwide—from the United Kingdom to Turkey to India and beyond—many drawn from firsthand experience. They examine the role played by new media companies and funders, showing how the confluence of the growth of big tech and falling revenues for legacy media has led to new forms of control. Contributions also shed light on how the rise of right-wing populists has catalyzed the crisis of global media. They also chart a way forward, exploring the growing need for a policy response and sustainable models for public-interest investigative journalism. Providing valuable insight into today’s urgent threats to media independence, Media Capture is essential reading for anyone concerned with defending press freedom in the digital age.

American politics and political economy series.

“Don Giovanni” Captured considers the life of a single opera, engaging with the entire history of its recorded performance. Mozart’s opera Don Giovanni has long inspired myths about eros and masculinity. Over time, its performance history has revealed a growing trend toward critique—an increasing effort on the part of performers and directors to highlight the violence and predatoriness of the libertine central character, alongside the suffering and resilience of his female victims. In “Don Giovanni” Captured, Richard Will sets out to analyze more than a century’s worth of recorded performances of the opera, tracing the ways it has changed from one performance to another and from one generation to the next. Will consults audio recordings, starting with wax cylinders and 78s, as well as video recordings, including DVDs, films, and streaming videos. As Will argues, recordings and other media shape our experience of opera as much as live performance does. Seen as a historical record, opera recordings are also a potent reminder of the refusal of works such as Don Giovanni to sit still. By choosing a work with such a rich and complex tradition of interpretation, Will helps us see Don Giovanni as a standard-bearer for evolving ideas about desire and power, both on and off the stage.

This book turns on the television, opens the newspaper, goes to the cinema and assesses how punishment is performed in media culture, investigating the regimes of penal representation and how they may contribute to a populist and punitive criminological i.

A state-of-the-art account of what we know and do not know about the effects of digital technology on democracy.

Drawing from extensive archival research, the book uncovers the American media system's historical roots and normative foundations. It charts the rise and fall of a forgotten media-reform movement to recover alternatives and paths not taken.

Motion capture is a technique for recording a performance and then translating it into mathematical terms. Animating motion is critical for the development of applications such as animation, virtual environments and video games. Character animation is the process by which natural movements are modelled and digitized so that digital character movements appear as natural as possible. There are three approaches to character animation: keyframe animation, motion capture, and simulation.