File Name: spreadable media henry jenkins sam ford and joshua green .zip
In media studies and marketing , spreadability is the wide distribution and circulation of information on media platforms. Spreadability contrasts with the "stickiness" of aggregating media in centralized places. The original copy of the textual, visual, audio information does not need to be replicated perfectly in order to display the characteristics of spreadability, rather the original can be manipulated or maintained in its original form and still be a product of this process.
Spreadable Media is a compelling guide, both entertaining and rigorous, to the new norms, cultures, enterprises, and social phenomena that networked culture is making possible. Read it to understand what your kids are doing, where Hollywood is going, and how online social networks spread cultural productions as a new form of sociality. It's a spreadable world and we are ALL part of it. Useful for anyone who makes media, analyzes it, consumes it, markets it or breathes. It is a remarkably different terrain than what we have been used to, one they effectively and stridently analyze.
The former has often been the measure of media success in the online world, but the latter describes the actual ways content travels through social media. Now with a new afterword addressing changes in the media industry, audience participation, and political reporting, and drawing on modern examples from online activism campaigns, film, music, television, advertising, and social media—from both the US and around the world—the authors illustrate the contours of our current media environment. For all of us who actively create and share content, Spreadable Media provides a clear understanding of how people are spreading ideas and the implications these activities have for business, politics, and everyday life, both on- and offline. EN English Deutsch. Your documents are now available to view.
Reviewed by Michael B. Spreadable Media is a recent, collective attempt to understand the participatory culture that is largely expressed through online and electronic media, though we see clearly throughout the book how this culture has spread to many other corners. This is very much capturing a moment in history: the technologies that the authors use as examples are outstripped by new applications even in the lag between submitting their text and the printing of the book. Their hope, then, is to capture the means of interacting with media rather than the media themselves. Anyone who watches a YouTube video or likes an article on Facebook; anyone who manipulates a Feminist Ryan Gosling meme or reposts a news article with a cheeky interpretive comment; anyone who writes online fan fiction or creates a video response—all are expressions of participatory culture, and all are contributors to spreadable media.
The authors of Spreadable Media provide a plethora of examples that illustrate the changing nature of media and popular culture moving from old to new , but they also advance several theoretical arguments that bring insight about these changes. Spreadable media, in fact, are media that can be manipulated and circulated by everyone, and not simply media that are created and distributed by the culture industry. Take the example of fans. For many years, fans have created and shared media sometimes in spite of the primary producers those who create the product of which the fans are fans. Now something different seems to be happening. Fans not only are sharing the product; they are critiquing, elaborating, extending, and manipulating it—in short, re-creating product or creating new product from old. It is this moving beyond old and tired oppositions that opens a space for new and different media, and this movement requires of the authors new and different theoretical tools for understanding and critiquing what is taking place.
For full document please download. Neither the authors nor New York University Press are responsible for URLs that may have expired or changed since the manuscript was prepared. Postmillennial pop Includes bibliographical references and index. Mass media and culture. Mass media and technology. Social media. Ford, Sam.
Но мысли о Сьюзан не выходили из головы. ГЛАВА 3 Вольво Сьюзан замер в тени высоченного четырехметрового забора с протянутой поверху колючей проволокой. Молодой охранник положил руку на крышу машины.
В марте я испробовала алгоритм с сегментированным ключом в миллион бит. Ошибка в функции цикличности, сотовая автоматика и прочее. ТРАНСТЕКСТ все равно справился. - Время. - Три часа.
Henry Jenkins, Sam Ford & Joshua Green: Spreadable media: Creating Value and meaning in A Networked Culture, New York: New York.
Они сказали - агентство. АНБ. - Никогда о таком не слышал. Беккер заглянул в справочник Управления общей бухгалтерской отчетности США, но не нашел в нем ничего похожего.
Чем глубже под землю уходил коридор, тем уже он становился. Откуда-то сзади до них долетело эхо чьих-то громких, решительных шагов. Обернувшись, они увидели быстро приближавшуюся к ним громадную черную фигуру.
Джабба! - Соши задыхалась. - Червь… я знаю, на что он запрограммирован! - Она сунула распечатку Джаббе. - Я поняла это, сделав пробу системных функций. Мы выделили отдаваемые им команды - смотрите. Смотрите, на что он нацелен.
Мидж продолжала читать. Мгновение спустя она удовлетворенно вскрикнула: - Я так и знала.
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