Social Media Study

The BBC is a central part of British life, shared culture and international standing. But the BBC is in peril as never before in its long history. It faces ever-increasing competition and threats from new technology and consumption trends. It suffers relentless attacks from a range of hostile players motivated by their own political and commercial interests. And it faces deep funding cuts. These pressures may even destroy it within a generation. We must not end up recognising what its value was only when it's gone.

In Finding Truth in Fiction, two media psychologists reveal that there's much more to our desire to seek out stories in film, TV, and books than simple diversion - fiction can help us find truth in our real lives. Whether you consider yourself a fan of popular media or whether you find yourself thinking of a particular fictional scene for inspiration, you are not alone. Though some assume that interest in a fictional world is a sign of psychological trouble, the authors enthusiastically disagree.

Nesse sentido, há o forte investimento em analisar e refletir as rupturas, traduções, criações e transcrições presentes em produções televisivas exibidas ao longo dos primeiros anos deste século em televisão aberta. Cartografias da Teledramaturgia Brasileira é o resultado de uma longa e esforçada trajetória de pesquisa sobre o tema e se materializa em um rico e instigante trabalho analítico, discutindo obras como Hoje é dia de Maria, A pedra do reino, Capitu e Afinal, o que querem as mulheres?

Published in time for the fiftieth anniversary of the Stonewall uprising on June 28, 1969, Indecent Advances investigates how queer men navigated a society that criminalized them and displayed little compassion for the violence they endured. Polchin shows, with masterful insight, how this discrimination was ultimately transformed by activists to help shape the burgeoning gay rights movement in the years leading up to Stonewall.

Perché quel sorriso, ascoltatore? Sapere ti rende felice. Credi di conoscere tutto quello che ti circonda: le app nel tuo cellulare sono in grado di dirti che tempo farà da oggi a due settimane, arrivano a pronosticare il vincitore del prossimo campionato di serie A. Chi ha inventato Internet? Google è Dio? Perché le persone non mi vogliono? Cosa mangiano le tartarughe? Ridi pure, ascoltatore: queste domande le hai poste proprio tu, e un programma di analisi ora le sta condividendo con il mondo intero.

A story of courage, unconventionality and lust for life. Vera Wasowski was just seven years old when German soldiers marched her family into the Lvov Jewish ghetto in Poland. She watched her father take his own life and her mother accede to sexual blackmail in order to ensure her and Vera’s survival. With unsparing honesty and the blackest humour, she recalls a world where the desire to survive was everything.

I vaccini? Provocano l'autismo. Le scie degli aerei? Veleno per alterare il clima. Gli attacchi dell'11 settembre? Una messinscena degli americani. La Luna? Non ci siamo mai andati. La Terra? È piatta. Ciò che fino a ieri era considerato da tutti vero e accertato, all'improvviso viene messo in discussione, mentre in molti ambiti della vita i fatti perdono sempre più valore a favore di credenze irrazionali, pregiudizi e cospirazioni.

Noir - as a style, movement, or sensibility - has its roots in hardboiled detective fiction by writers like Chandler and Hammett, and films adapted from their novels were among the first called "film noir" by French cineastes. But film isn't the only medium with a taste for a dark story. Hundreds of noir dramas have been produced for television, featuring detectives and femmes fatales, gangsters, and dark deeds, continuing week after week, with a new disruption of the social order. In TV Noir, television historian Allen Glover presents the first complete study of the subject.

Gorgeous War argues that the Nazis used the swastika as part of a visually sophisticated propaganda program that was not only modernist, but also the forerunner of contemporary brand identity. When the United States military tried to answer Nazi displays of graphic power, it failed. In the end the best graphic response to the Nazis was produced by the Walt Disney Company.

An entertaining and insightful examination of the Emmy-award winning American satirical news show, broadcast on Comedy Central in the US, and (in an edited edition) on More4 in the UK and CNN International around the world.

Devouring Cultures brings together contributors from a wide range of disciplines including media studies, rhetoric, gender studies, philosophy, anthropology, literary criticism, film criticism, race theory, history, and linguistics to examine the ways food signifies both culture and identity. The essays in Devouring Cultures show how our choices about what we eat, where we eat, and with whom we eat are linked to identity and meaning.

In Editor Missing, veteran journalist Ruben Banerjee attempts to provide clarity on the state of Indian media at a time when there is consensus only on the lack of it. The media mirrors society, and Banerjee is best placed to tell its contested story in contemporary India. As a top editor for various publications, he has had a ringside view for years of the decline in its standards, quality and objectivity. His own experiences reflect the time we live in.

World War II was a media war. President Franklin D. Roosevelt used the press to a great extent, of course, but as the war progressed, the media also came to influence commanders' decisions on the battlefield. The Media Offensive offers a new way to understand military-media relations during World War II. The press and public opinion shaped not only how the conflict was seen but also how it was fought. In what could be called "the new history of war reporting," the focus is switched from how the military controlled reporters to how military decisions were shaped by the press.

الكتب كالبشر لها ملامح وحياة وصفات وأسماء، لكن بعض الكتب تختلف كونها تولد ولا تموت..كلما مرت السنوات ازدادت شباباً و تألقاً.

في هذا الكتاب نعيش معاً بين صفحات كتب كانت سطورها مصابيح حضارة وحروفها مفاتيح استنارة.

Imagine losing a loved one in the public eye. A media frenzy ensues and spreads your family name through the news. Reporters ambush you, and across the country, strangers gossip about your personal loss. Welcome to the circus. In Media Circus, Kim Goldman, now a dedicated victims' advocate who works with families across the country, presents the first collective look at these ordinary, grieving victims - forced to manage their very private trauma and despair in a very public way.

Desde una estrella en ascenso en The New Yorker, una crónica profundamente inmersiva de cómo los empresarios optimistas de Silicon Valley se propusieron crear un internet libre y democrático, y cómo los propagandistas cínicos de la alt-right explotaron esa libertad para impulsar el extremo hacia la corriente principal. Durante varios años, Andrew Marantz, un escritor neoyorquino, ha estado incrustado en dos mundos.

Why does writing exist? What does it mean to those who write? Born from the interplay of natural and cultural history, the seemingly magical act of writing has continually expanded our consciousness. Portrayed in mythology as either a gift from heroes or a curse from the gods, it has been used as both an instrument of power and a channel of the divine, a means of social bonding and of individual self-definition.

What made the San Diego Comic-Con a Hollywood destination? How does the industry’s presence at Comic-Con shape our ideas about what it means to be a fan? And what can this single event tell us about the relationship between media industries and their fans, past and present? Only at Comic-Con answers these questions and more as it examines the connection between exclusivity and the proliferation of media industry promotion at the longest-running comic convention in North America.

In March of 1827 the nation's first black newspaper appeared in New York City - to counter attacks on blacks by the city's other papers. From this signal event, The African American Newspaper traces the evolution of the black newspaper - and its ultimate decline - for more than 160 years until the end of the 20th century.

To some, it is the voice of the nation, yet to others it has never been clearer that the BBC is in the grip of an ideology that prevents it reporting fairly on the world. Robin Aitken, who spent 25 years working for the BBC as a reporter and executive, argues that the Corporation needs to be reminded that what is 'fake' rather depends on where one is standing. This punchy polemic galvanises the debate over how our licence-fee money is spent and asks whether the BBC is a fair arbiter of the news, or whether it is a conduit for institutional liberal left-wing bias.