By Jonathan Gray, Derek Johnson
A spouse to Media Authorship bargains 28 groundbreaking chapters which examine the practices, attributions, and meanings of authorship. Revitalizing the learn inside media and cultural reports, this different and worldwide assortment presents the definitive paintings at the subject.
Rethinks cultures of authorship and demanding situations the concept that of auteurism throughout a number of media forms
Moves past notions of the person to target how authorship is collaborative, contested, and networked, analyzing cultures of authorship and the practicalities of the way it works
Draws at the state-of-the-art study of students and practitioners whose paintings has produced major new insights into the field
Examines a variety of media, together with tv, social media, radio, videogames, transmedia, track, and comedian books
Offers a magnificent worldwide concentration, together with items on Mexican track, beginner movie creation in Nairobi slums, tele-serial construction in Kinshasa, Hong Kong movie, and the selling of Bollywood
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Additional resources for A Companion to Media Authorship
No-One is an Author ‘‘The author is the principle of thrift in the proliferation of meaning,’’ Michel Foucault28 Turning from early modern to ‘‘late modern’’ society, but staying with popular entertainment, we must also turn from the written word to pictorial publications like magazines, audiovisual forms like film, TV, and digital media, and non-literary genres such as news, science, the movies, and games. Here, even though it is recognized that such forms and genres rely on the talents of writers, the concept of authorship dwindles to the point of meaninglessness.
For readers who are not aware, within academia a firm hierarchy of which venues ‘‘count’’ more than others exists for hiring and tenure committees (due to commercial considerations such as the one we experienced), and not only are chapters seen to count less than blind peer-reviewed journal articles, but commercial presses are occasionally regarded as less prestigious than university presses. Thus some of our contributors had institutional forces impacting their authorship in serious ways, while other potential contributors’ authorship was impacted so forcefully as to ensure it never occurred in the first place.
35 The film followed the magazine’s production process for the September 2007 issue. At 832 pages, that was the biggest fashion magazine ever published to that date. The job of producing each issue falls to the Editor-in-Chief, Anna Wintour, who is much better known than her corporate bosses. 37 The movie, with Meryl Streep as the Wintour-like ‘‘Miranda Priestly,’’ ruthless editor of fictional Runway magazine, and Anne Hathaway as the ing´enue with a lot to learn, was a surprise box-office hit.
A Companion to Media Authorship by Jonathan Gray, Derek Johnson