Podcasts about new media collide

Crypto, Metaverse, Futureverse, Readyverse...the AI revolution discussed in verse. Hosted by Bukky from Wavemaker, Harriet from Publicis and Jack from Craft Media.Got a media confession you need to get off your chest? Need some life advice from the gang? Submit your questions here: https://forms.gle/CXPYw4SDRSqXzZTt8The Reading List:"Media and Society: Critical Perspectives" edited by Graeme Burton"The Long Tail: Why the Future of Business is Selling Less of More" by Chris AndersonConvergence Culture: Where Old and New Media Collide" by Henry JenkinsThe Shallows: What the Internet Is Doing to Our Brains" by Nicholas CarrWhat Marketers Don't Know, Byron SharpBuyology: Truth and Lies About Why We Buy" by Martin LindstromStephen King's Planning Guide: https://www.slideshare.net/luciodiasribeiro/stephen-king-jwt-planning-guide-march-1974How not to plan: https://www.apg.org.uk/publications-hownottoplanPractitioners worth a LinkedIn follow: Les BinetByron SharpRory SutherlandSarah Carter Hosted on Acast. See acast.com/privacy for more information.

Hollywood and Wall Street have obvious reasons to be obsessed with I.P. (Intellectual Property) because its consistently proven moneymaking abilities. But, how does it actually enrich the storytelling experience? In 2008, Henry Jenkins was asking these questions in his book, Convergence Culture: Where Old and New Media Collide. I'm joined on this episode by Rehman Nizar Ali, as we discuss:- The Matrix (a trilogy at the point of the book's publication) as the ideal model of transmedia;- how the “mothership” transmedia model has dominated;- what the abandonment of Star Wars canon means for — up to this point — the most sophisticated canon.Also:- There are still more James Bond movies than MCU movies;- the super-hero genre, fatigued or not, as one of empowerment;- what video game to film adaptation has the best potential to work;- and Fredric Wertham's resurgent reputation.Henry Jenkins is a professor at the University of Southern California; previously, he was the director of the MIT Comparative Media Studies Program. He is the author and/or editor of twenty books on various aspects of media and popular culture, including Textual Poachers: Television Fans and Participatory Culture, Hop on Pop: The Politics and Pleasures of Popular Culture, From Barbie to Mortal Kombat: Gender and Computer Games, Spreadable Media: Creating Meaning and Value in a Networked Culture, and By Any Media Necessary: The New Youth Activism. He also co-hosts How Do You Like It So Far?, a podcast about popular culture in a changing world. More can be found on his blog.Rehman Nizar Ali is co-editor of recent films for Terrence Malick including A Hidden Life, Song to Song, and Voyage of Time. Other works include commercials for Facebook, Google, Guerlain, and most recently the museum video installation Dioses y Maquinas! You can also find him at his website.Convergence Culture: Where Old and New Media Collide is published by NYU Press, and is available online or brick and mortar bookstores.

One of the more celebrated aspects of contemporary media is that it seems so much more participatory. In principle, at least, anyone can for example establish a Twitter or a YouTube account, and share their experiences or views with minimal censorious intervention. Some have explained this apparently more participatory media culture with reference to the capacities of technologies. After all, people can participate more easily when so many media functions are collapsed into an internet-enabled device like a smartphone. And yet, for others, this technological explanation is flawed, underplaying longer-term cultural shifts, which these new technologies might more properly be seen as crystallizing.  In this episode, we begin with work by thinkers such as Henry Jenkins, who have notably opposed technological explanations for a participatory media culture. For Jenkins, ordinary people's participation in media creation is about more than gadgets, devices or platforms. Rather, it is a momentous cultural shift, towards new and potentially democratising forms of 'collective intelligence' that blur the old distinction between media ‘producers' and ‘audiences'. Jenkins' work has been widely discussed. For some, his model of ‘a convergence culture' overemphasises the individual agency of media participants. Sure, they may be technically freer and more enabled than in the past, but when someone creates or shares a meme, for example, they also partially reproduce or conform to cultural norms. We might also ask: does insisting on ‘culture' bring us back to the same unsustainable technology/culture dichotomy we have challenged in earlier episodes?  It is probably difficult to conceive, for example, of the cultural conditions for a so-called post-truth politics without some account of the technical affordances of social media platforms. Thinkers Discussed: Tim Dwyer (Media Convergence); Lev Manovich (Software Takes Command); Ithiel de Sola Pool (Technologies of Freedom: On Free Speech in an Electronic Age); Thomas Friedman (Thank you for Being Late: An Optimist's Guide to Thriving in the Age of Accelerations); Henry Jenkins (Convergence Culture: Where Old and New Media Collide); Axel Bruns (Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage); Pierre Lévy (Collective Intelligence: Mankind's Emerging World in Cyberspace); Bernard Stiegler (The Economy of Contribution); Jose Van Dijck (Users Like You? Theorizing Agency in User-Generated Content); Richard Dawkins (The Selfish Gene); Limor Shifman (Memes in Digital Culture); Noam Gal, Limor Shifman and Zohar Kamph (‘It Gets Better': Internet Memes and the Construction of Collective Identity); danah boyd (Social Network Sites as Networked Publics: Affordances, Dynamics, and Implications); Jason Hannan (Trolling Ourselves to Death? Social Media and Post-Truth Politics); Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business).

As a PhD candidate at the School of Oriental and African Studies (SOAS), Rakesh Sengupta researched early Indian cinema. His essay 'Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies', published in the Dec 2018 issue of Bioscope [no. 9.2] won the Best Journal Article by Screenwriting Research Network and also received High Commendation for Screen's Annette Kuhn Debut Essay Prize. On today's episode, we talk about the way in which the lack of script archives dictated the methods of research, how the vocation of screenwriting propelled fantasies of self-improvement and socioeconomic ascendancy in the 1930s and 1940s and the way in which the study of early cinema has been revitalised in the contemporary context of OTT and web programming. We also have some lovely anecdotes about serendipitous discoveries of forgotten Indian cinema scripts in other corners of the world. Click here to access the Image+ Guide & view the material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-9. Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Musical arrangement: Jayant Parashar Images: Rakesh Sengupta Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] References: Ashish Rajadhyaksha, 'The Phalke Era: Conflict of Traditional Form and Modern Technology', The Journal of Arts and Ideas, 1987. Kaushik Bhaumik, 'The Emergence of the Bombay Film Industry, 1913-1936', D. Phil Diss., University of Oxford, 2001. Priya Jaikumar, 'Cinema at the End of Empire', Duke University Press, 2006. Debashree Mukherjee, 'Notes on a Scandal: Writing Women's Film History Against an Absent Archive', Bioscope: South Asian Screen Studies' [Vol. 4.1], pp. 9-30, Jan. 2013. Bombay Hustle: Making Movies in a Colonial City',Columbia University Press, 2020. 'Somewhere Between Human, Nonhuman and Woman: Shanta Apte's Theory of Exhaustion', Feminist Media Histories [Vol. 6.1], pp. 21- 51, 2020. Tom Gunning, 'The Cinema of Attractions', Amsterdam University Press, 2006. André Gaudreault and Phillipe Marion, 'The Cinema as a Model for the Genealogy of Media', Convergence: The International Journal of Research into New Media Tecnologies [8.4], pp. 12-18, Dec. 2002. Ravi Vasudevan, 'The Melodramatic Public: Film Form and Spectatorship in Indian Cinema', Palgrave Macmillan US, 2010. Rachel Dwyer, 'Filming the Gods: Religion and Indian Cinema', Routledge, 2006. Rosie Thomas, 'Bombay Before Bollywood: Film City Fantasies', SUNY Press, 2015. Sudhir Mahadevan, 'A Very Old Machine: The Many Origins of the Cinema in India', SUNY Press, 2015. André Bazin, 'What Is Cinema?', trans. Hugh Gray, University of California Press, 1967. Stephen Hughes, 'The Production of the Past: Early Tamil Film History as a Living Archive', Bioscope: South Asian Screen Studies, pp. 71-80, June 2013. Ravikant, 'Words in Motion Pictures: A Social History of the Language of Hindi Cinema (c. 1931 till present)', Unpublished diss., University of Delhi, 2015. Henry Jenkins, 'Converge Culture: Where Old and New Media Collide', NYU Press, 2006. Virchand Dharamsey, 'Light of Asia: Indian Silent Cinema', 1912-1934, eds. Suresh Chabria, Paolo Cherchi Usai, Niyogi Books, 1994.

One of the more celebrated aspects of contemporary media is that it seems so much more participatory. In principle, at least, anyone can for example establish a Twitter or a YouTube account, and share their experiences or views with minimal censorious intervention. Some have explained this apparently more participatory media culture with reference to the capacities of technologies. After all, people can participate more easily when so many media functions are collapsed into an internet-enabled device like a smartphone. And yet, for others, this technological explanation is flawed, underplaying longer-term cultural shifts, which these new technologies might more properly be seen as crystallizing.  In this episode, we begin with work by thinkers such as Henry Jenkins, who have notably opposed technological explanations for a participatory media culture. For Jenkins, ordinary people's participation in media creation is about more than gadgets, devices or platforms. Rather, it is a momentous cultural shift, towards new and potentially democratising forms of 'collective intelligence' that blur the old distinction between media ‘producers' and ‘audiences'. Jenkins' work has been widely discussed. For some, his model of ‘a convergence culture' overemphasises the individual agency of media participants. Sure, they may be technically freer and more enabled than in the past, but when someone creates or shares a meme, for example, they also partially reproduce or conform to cultural norms. We might also ask: does insisting on ‘culture' bring us back to the same unsustainable technology/culture dichotomy we have challenged in earlier episodes?  It is probably difficult to conceive, for example, of the cultural conditions for a so-called post-truth politics without some account of the technical affordances of social media platforms. Thinkers Discussed: Tim Dwyer (Media Convergence); Lev Manovich (Software Takes Command); Ithiel de Sola Pool (Technologies of Freedom: On Free Speech in an Electronic Age); Thomas Friedman (Thank you for Being Late: An Optimist's Guide to Thriving in the Age of Accelerations); Henry Jenkins (Convergence Culture: Where Old and New Media Collide); Axel Bruns (Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage); Pierre Lévy (Collective Intelligence: Mankind's Emerging World in Cyberspace); Bernard Stiegler (The Economy of Contribution); Jose Van Dijck (Users Like You? Theorizing Agency in User-Generated Content); Richard Dawkins (The Selfish Gene); Limor Shifman (Memes in Digital Culture); Noam Gal, Limor Shifman and Zohar Kamph (‘It Gets Better': Internet Memes and the Construction of Collective Identity); danah boyd (Social Network Sites as Networked Publics: Affordances, Dynamics, and Implications); Jason Hannan (Trolling Ourselves to Death? Social Media and Post-Truth Politics); Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business).

Today, we're going to start something "epic" (hard quotes). M wants to begin to dissect what made audio fiction podcasting in the first place, what gives it its appeal, and what makes it the cultural force that it is.And we're going to start by clarifying if these shows are all just radio dramas reborn. Audio Fiction Referenced:Among the Stars and BonesAlice Isn't DeadWithin the WiresSources:1. Meyer, Erin A. “'Blogs Give Regular People the Chance to Talk Back': Rethinking 'Professional' Media Hierarchies in New Media.” New Media & Society, vol. 14, no. 6, 2012, pp. 1022–1036. 2. Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York University Press, 2016. ----Transcript available on our website: www.miscellanymedia.online/transcriptsMusic for this Episode by Sounds Like an Earful: Soundslikeanearful.comSupport the project: www.ko-fi.com/mmstudiosAnd check out The Oracle of Dusk wherever you are listening to this podcast

Legendary former MIT professor and housemaster Henry Jenkins, now the Provost’s Professor of Communications, Journalism, Cinematic Arts and Education at the University of Southern California, returns to the Forum for a conversation about his time at the Institute and the founding of CMS as well as his path-breaking scholarship on contemporary media. Forum Director David Thorburn, Jenkins’ longtime friend and colleague, will moderate the discussion. Henry Jenkins is Provost’s Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California. He taught at MIT from 1990-2009 and was the founding director of the Comparative Media Studies program at the Institute. He has written many books on film, popular culture and media, including Convergence Culture: Where Old and New Media Collide (2008). David Thorburn is a professor of Literature and Director of the MIT Communications Forum. He is the author of a critical study of the novelist Joseph Conrad and many essays on literature and media. Among his publications: Rethinking Media Change (2007), co-edited with Henry Jenkins.

Aired 07/21/09 HENRY JENKINS is the Provost's Professor of Communications, Journalism, and Cinematic Art at the University of Southern California. Until recently, he served as the co-founder of the Comparative Media Studies Program at the Massachusetts Institute of Technology. His newest books include Convergence Culture: Where Old and New Media Collide and Fans, Bloggers and Gamers: Exploring Participatory Culture. www.henryjenkins.org/

November 4th brings Slashcast 11 and a great episode. Phaballa updates us on GLBT news then Charlotte has kerryblaze and scarah2 on discussing "Movie Canon VS Book Canon: How the movies affect fan works". For our Fandom Opinion this week livejournal user stepps talks about not having an OTP. Ms. Emma Grant has a special Insider Interview this week with Dr. Henry Jenkins. Dr. Henry Jenkins is the Director of the MIT Comparative Media Studies Program and the Peter de Florez Professor of Humanities. His newest books include Convergence Culture: Where Old and New Media Collide and Fans, Bloggers and Gamers: Exploring Participatory Culture. Lastly Charlotte and Emma have a chat in the mailbag. Rated R.