Critical terms for media studies by W. J. T. Mitchell, Mark B. N. Hansen

By W. J. T. Mitchell, Mark B. N. Hansen

Communications, philosophy, movie and video, electronic tradition: media experiences straddles an spectacular array of fields and disciplines and produces a vocabulary that's in equivalent elements rigorous and intuitive. Critical phrases for Media Studies defines, and from time to time, redefines, what this new and hybrid sector goals to do, illuminating the major thoughts in the back of its liveliest debates and such a lot dynamic topics.

Part of a bigger dialog that engages tradition, know-how, and politics, this fascinating selection of essays explores our most important language for facing the traits and modes of up to date media. Edited via notable students within the box, W. J. T. Mitchell and Mark B. N. Hansen, the quantity positive factors works by way of a crew of exclusive participants. those essays, commissioned expressly for this quantity, are equipped into 3 interrelated teams: “Aesthetics” engages with phrases that describe sensory reports and judgments, “Technology” bargains access right into a wide array of technological options, and “Society” opens up language describing the platforms that let a medium to function.

A compelling reference paintings for the twenty-first century and the media that shape our adventure inside it, Critical phrases for Media Studies will interact and deepen any reader’s wisdom of 1 of our most vital new fields.

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Some artists and critics accused Millais of abasing the sanctity of art and sullying his own reputation in allowing his painting to be linked with commerce. Once used as a soap advertisement, Bubbles was no longer a work of art, purists declared. Others saw the popularization of images of fine art as a social benefit. Late-nineteenth-century British and American culture was permeated with the ideals expressed in the works of Matthew Arnold, who considered fine art to be the best expression of the highest values of civilization.

New ways of communicating, of fabricating forms and images, and of expressing ideas are largely driven, or made possible, by new gadgets and gizmos. Insofar as media studies is a historical discipline, it is driven by an obsession with invention and innovation: How did the invention of metal casting transform Roman sculpture and Chinese bell temples? How did the invention of mechanically imprinted coins affect ancient economies? How did the movement from stone inscriptions to papyrus, or from pictographic to alphabetic writing, change the conditions of communication across large distances and the administration of colonial regimes?

Media, then, functions as a critical concept in something like the way that the Freudian unconscious, Marxian modes of production, and Derrida’s concept of writing have done in their respective domains. Though a distinct innovation, this general concept of mediality that we are proposing reveals thinkers from Aristotle to Walter Benjamin to have been media theorists all along. Sophocles had no concept of the Oedipus complex, but after Freud it becomes difficult to think about Greek tragedy without reference to psychoanalytic categories.

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