Michel Chion is well known in contemporary film studies for his innovative investigations into aspects of cinema that scholars have traditionally overlooked. Following his work on sound in film in Audio-Vision and Film, a Sound Art, Words on Screen is Chion's survey of everything the seventh art gives us to read on screen. He analyzes titles, credits, and intertitles, but also less obvious forms of writing that appear on screen, from the tear-stained letter in a character's hand to reversed writing seen in mirrors. Through this examination, Chion delves into the multitude of roles that words on screen play: how they can generate narrative, be torn up or consumed but still remain in the viewer's consciousness, take on symbolic dimensions, and bear every possible relation to cinematic space. With his characteristic originality, Chion performs a poetic inventory of the possibilities of written text in the film image. Taking examples from hundreds of films spanning years and genres, from the silents to the present, he probes the ways that words on screen are used and their implications for film analysis and theory. In the process, he opens up and unearths the specific poetry of visual text in film. Exhaustively researched and illustrated with hundreds of examples, Words on Screen is a stunning demonstration of a creative scholar's ability to achieve a radically new understanding of cinema.
The screen has never been merely a canvas for the images to be displayed but also – to quote Jean-Luc Godard – “a blank page”, a surface for inscriptions and a “stage” for all kinds of linguistic occurrences be their audible or visual. Word did not come into the world of cinema at the time of the talkies but has been a primordial medial “companion” that has shaped the cinematic experience from its very beginnings. This volume offers a collection of essays that question the role of words and images in the context of moving pictures covering a wide area of their interconnectedness. How can we analyse literary adaptations? What is the role of adaptations in the evolution of specific national cinemas? In what way are written texts used in films? Is the model of the word and image relations used in silent films still applicable today? What major paradigms can be discerned within the multiplicity of ways Jean-Luc Godard’s cinema plays with words and images? Are these models of modernist or postmodern cinema reflected in films of other directors like R. W. Fassbinder? How do avant-garde works deal with the word and image debate? What are the connections of animation or computer games with verbal text and narrative? What is the phenomenon of jet-setting and how does it connect to the ideological implications of the relations between the culture of books and films? What happens when Hamlet is completely rewritten reflecting the ideology of late capitalism? What happens from the point of view of literariness or rejection of literariness when films are made vehicles of national propaganda? How do words get mediated through images? These are some of the questions addressed in the present volume by in-depth case studies of cinematic intermediality or more general surveys regarding cinema’s long lasting liaisons with language or literature.
"The digital revolution has transformed reading. Onscreen text, audiobooks, podcasts, and videos often replace print. We make these swaps for pleasure reading, but also in schools. How We Read Now is a ringside seat to the impact of reading medium on learning. Teachers, administrators, librarians, and policymakers need to make decisions about classroom materials. College students must weigh their options. And parents face choices for their children. Digital selections are often based on cost or convenience, not educational evidence. Current research offers essential findings about how print and digital reading compare when the aim is learning. Yet the gap between what scholars and the larger public know is huge. How We Read Now closes the gap. The book begins by sizing up the state of reading today, revealing how little reading students have been doing. The heart of the book connects research insights to practical applications. Baron draws on work from international researchers, along with results from her collaborative studies of student reading practices ranging from middle school through college. The result is an impartial view of the evidence, including where the jury is still out. The book closes with two challenges. The first is that students increasingly complain print is boring. And second, for all the educational buzz about teaching critical thinking, digital reading is inherently ill-suited for cultivating these habits of mind. Since screens and audio are now entrenched - and valuable - platforms for reading, we need to rethink how to help learners use them wisely"--
Mustafa Kemal Atatürk was not widely known when he led the national resistance movement in Anatolia in 1919. However, the effort and attention that his government devoted to the creation of his public image gradually turned him into a superhuman figure in the eyes of many. Film played a crucial role in the creation and dissemination of this image and helped Atatürk to advance his project of building a new “imagined community” of the Turkish nation. But despite the impact of film and film-making on the political and cultural life of Early Republican Turkey, there is almost no research that has analysed this footage. Atatürk on Screen uncovers various film archives to reveal the significant, albeit paradoxical, role of film during this period. Enis Dinç shows that while film-making was crucial for the creation of Atatürk's public image and the presentation of Turkey's new modern image to the world, it also posed risks as it could be re-used, re-edited and re-framed for the purposes of counter-propaganda. The main analysis in the book is of the film footage itself, including rare contemporary cinematic sources which have never received comprehensive analysis before. The book also makes use of other primary sources such as letters, memoirs, newspapers, reports, newsletters and production files, providing readers with a multi-layered account of the period.
Convergent Journalism: An Introduction is the pioneering textbook on practicing journalism in the 21st century, now in its third edition, offering chapters by industry experts covering key components for today’s convergenced media landscape. Each chapter of this book is written by an expert in the field, offering practical and key skills for the different aspects that make up the practice of journalism today. This new edition, written from the ground up, shifts the discussion toward a model of responsible and audience-centric journalism and demonstrates the ways journalists can use new media tools as both senders and receivers. The bedrock tenets of journalism remain at the core of this book, including information dissemination, storytelling, and audience engagement. This book offers readers: • A number of pedagogical features to improve learning and retention, including examples, exercises, breakout boxes and more • Coverage of additional topics such as issues of law and ethics in digital media, and also writing for mobile platforms and social media • Individual chapters written by subject experts, giving readers the necessary know-how for converged media by proven leaders in the field Students looking for the practical skills and ethical background necessary for producing journalism in the contemporary media landscape will find this book an invaluable resource. It is perfect for students in courses such as Convergent Journalism, Digital Media, Online Journalism, and Multimedia Journalism.
This essay collection explores the cultural functions the printed book performs in the digital age. It examines how the use of and attitude toward the book form have changed in light of the digital transformation of American media culture. Situated at the crossroads of American studies, literary studies, book studies, and media studies, these essays show that a sustained focus on the medial and material formats of literary communication significantly expands our accustomed ways of doing cultural studies. Addressing the changing roles of authors, publishers, and readers while covering multiple bookish formats such as artists’ books, bestselling novels, experimental fiction, and zines, this interdisciplinary volume introduces readers to current transatlantic conversations on the history and future of the printed book.
When Oliver's tennis ball rolls across his lawn into the yard of the girl next door, he realizes that his stuffed animals might not be companionship enough.
From the authors who created the One Word movement, impacting schools, businesses, and sports teams around the world, comes a charming fable that can be read and shared by everyone. If you could choose only one word to help you have your best year ever, what would it be? Love? Fun? Believe? Brave? It’s probably different for everyone. How you find your word is just as important as the word itself. And once you know your word, what do you do with it? In One Word for Kids, bestselling author Jon Gordon—along with coauthors Dan Britton and Jimmy Page—asks these questions to children and adults of all ages, teaching an important life lesson in the process. This engaging, fully illustrated fable follows Stevie, a young boy falling asleep on the first day of school. His teacher gives the class an assignment: to find the one word that will help them have their best year ever. To discover their one word, they must look inside themselves, look up, and look out. At home, Stevie is upset because he can’t find his word. After his dad offers some helpful advice, Stevie excitedly begins the quest for his word. His search helps him discover a lot about himself, what he loves, and what is important to him. An easy read with a powerful message, One Word for Kids appeals to readers of all ages and is an ideal entry point into discussing a valuable lesson in a fun and engaging way.