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Call No: 77 EPH
Author: Grainge, Paul, 1972 -
Place: Houndsmill, Basingstoke, Hampshire ; New York
Publisher: Palgrave Macmillan
PubDate: 2011
PhysDes: viii, 236 pages : illustrations ; 24 cm.
Subject: CONVERGENCE; INTERNET AND THE CINEMA; INTERNET AND TV; SOCIAL MEDIA AND THE CINEMA; ONLINE VIDEO PROGRAMMING; COMPUTERIZED ANIMATION AND SPECIAL EFFECTS; COMPUTERS AND THE CINEMA; YOUTUBE; ADVERTISING
Summary: "From the television interstitials that appear between programmes to the brief clips and videos that proliferate on YouTube, contemporary screen culture is populated by short-forms that make claims for our attention. Ephemeral Media provides a unique focus on these fleeting but increasingly ubiquitous texts. Through case studies in television and web entertainment, this original book looks at the production of media at the edges, within the junctions, and that surround the output of networks and studios. Analyzing promos and idents, emergent forms of online TV and web drama, and the burgeoning world of worker- and user-generated content, this new collection also examines screen forms that circulate "between," "beyond" and "below" the TV programs and films traditionally privileged within screen studies. With essays by leading international scholars in television, film and new media studies, as well as interviews with key industry figures, Ephemeral Media explores the practices, strategies and textual forms helping producers (and viewers) negotiate a fast-paced mediascape. Examining dynamics of brevity and evanescence in the television and new media environment, Ephemeral Media provides a new perspective on the transitory, and transitional, nature of screen culture in the early 21st century"-- Blurb
Notes: Formerly CIP. Includes bibliographical references and index
ISBN: 9781844574346
Donation: Adrian Miles
Contents: Introduction: Ephemeral media, Paul Grainge -- I Media transition and transitory media -- 1. The recurrent, the recombinatory, and the ephemeral: William Uricchio -- 2. Television, abridged: ephemeral texts, monumental seriality and TV-Digital media convergence, Max Dawson -- II Between: interstitials and idents -- 3. Interstitials: how the 'bits in between' define the programmes, John Ellis -- 4. 'Music is Half the Picture': the soundworld of television idents, Mark Brownrigg and Peter Meech -- 5. TV promotion and broadcast design: An interview with Charlie Mawer, Red Bee Media -- III Beyond: online TV and web drama -- 6. The evolving media ecosystem: An interview with Victoria Jaye, BBC, Elizabeth Jane Evans -- 7. Beyond the broadcast text: new economies and temporalities of online TV, JP Kelly -- 8. Time slice: web drama and the attention economy, Jon Dovey -- 9. 'Carnaby Street, 10am': KateModern and the ephemeral dynamics of online drama, Elizabeth Jane Evans -- IV Below: worker- and user-generated content -- 10. Corporate and worker ephemera: the industrial promotional surround, paratexts and worker blowback, John T. Caldwell -- 11. Reenactment: fans performing movie scenes from the stage to YouTube, Barbara Klinger -- 12. Digital intimacies: aesthetic and affective strategies in the production and use of online video, Rosamund Davies.

Author: Hemphill, Brooke
PhysDes: Article
Subject: WORD OF MOUTH; SOCIAL MEDIA AND THE CINEMA; ADVERTISING
Summary: Word of mouth, bad or good is far more likely to generate and spread online. Hemphill speaks to the people trying to manage this talk and asks what it means for content creators. TV programs such as BIG BROTHER are discussed with comparisons to before and after the introduction of social media and the impact of marketing. MOTHER AND CHILD is also referred to.

Call No: SUBJECT CLIPPINGS FILE; SOCIAL MEDIA AND THE CINEMA
Author: Swan, David
PhysDes: Clippings File Article
Subject: TECHNOLOGY AND THE CINEMA. USA; SOCIAL MEDIA AND THE CINEMA; SNAP [company]
Summary: Looking at Los Angeles as a new key location for high level social media and tech companies with reference to the cities strong links to media (Hollywood film and tv)

Call No: 401.5 BIN
Author: Binns, Daniel
Edition: 2021
Place: Fishponds, Bristol
Publisher: Intellect
PubDate: 2021
PhysDes: xviii, 176 pages : illustrated
Subject: ANDERSON, PAUL THOMAS; CINEMATOGRAPHY; DELEUZE, GILLES; DRONE PHOTOGRAPHY; EDITING; MOBILE AND ONLINE MEDIA; SOCIAL MEDIA AND THE CINEMA
Summary: There is now no shortage of media for us to consume, from streaming services and video-on-demand to social media and everything else besides. This has changed the way media scholars think about the production and reception of media. Missing from these conversations, though, is the maker: in particular, the maker who has the power to produce media in their pocket. How might one craft a personal media-making practice that is thoughtful and considerate of the tools and materials at one's disposal? This is the core question of this original new book. Exploring a number of media-making tools and processes like drones and vlogging, as well as thinking through time, editing, sound, and the stream, Binns looks out over the current media landscape in order to understand his own media practice. The result is a personal journey through media theory, history and technology, furnished with practical exercises for teachers, students, professionals and enthusiasts. A unique combination of theory and practice written in a highly personal and personable style that is engaging and refreshing. This book will enable readers to understand how a personal creative practice might unlock deeper thinking about media and its place in the world. The primary readership will be among academics, researchers and students in the creative arts, and practitioners of creative arts including sound designers, cinematographers and social media content producers. Designed for classroom use, this will be of particular importance for undergraduate students of film production and may also be of interest to students at MA level, particularly on the growing number of courses that specifically offer a blend of theory and practice. The highly accessible writing style may also mean that it can be taken up for high school courses on film and production. It will also be of interest to academics delivering these courses, and to researchers and scholars of new media and digital cinema. -- publisher's web site
ISBN: 9781789383492
Contents: List of figures -- Foreword: Cherish the Thought / Adrian Martin -- Acknowledgments -- Introduction: Maker, material -- Hollis, my smartphone, and me: Practical lessons from historic avant-garde cinema -- Time Part I: From clip to continuity -- Time Part II: From continuity to fluidity -- Sound: From added-value to cohesion -- Fragments: The remnants of media practice -- Messy cinema: Casey Neistat and the affordances of the vlog -- The GIF: Silent but digital -- A purely digital form?: Streams and atmospheres -- Dronopoetics: Telepresence and aerial cinematography -- Coda: Lessons from the cutting-room floor -- References -- Index

Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: SOCIAL MEDIA AND THE CINEMA

Call No: 229.5(73) CUN
Author: Cunningham, Stuart ; Craig, David
Source: US
Place: New York
Publisher: New York University Press
PubDate: 2019
PhysDes: x, 353 pages : figures, illustrations, tables ; 23 cm
Subject: AUDIENCES; INTERNET AND THE CINEMA; SOCIAL MEDIA AND THE CINEMA; AUDIENCE RESEARCH
Summary: "How the transformation of social media platforms and user-experience have redefined the entertainment industry In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, have given rise to a new creative industry: social media entertainment. Operating at the intersection of the entertainment and interactivity, communication and content industries, social media entertainment creators have harnessed these platforms to generate new kinds of content separate from the century-long model of intellectual property control in the traditional entertainment industry. Social media entertainment has expanded rapidly and the traditional entertainment industry has been forced to cede significant power and influence to content creators, their fans, and subscribers. Digital platforms have created a natural market for embedded advertising, changing the worlds of marketing and communication in their wake. Combined, these factors have produced new, radically shifting demands on the entertainment industry, posing new challenges for screen regimes, media scholars, industry professionals, content creators, and audiences alike. Stuart Cunningham and David Craig chronicle the rise of social media entertainment and its impact on media consumption and production. A massive, industry-defining study with insight from over 100 industry insiders, Social Media Entertainment explores the latest transformations in the entertainment industry in this time of digital disruption." -- book blurb
Notes: Includes bibliography, index, notes
ISBN: 9781479846894
Contents: 1. Introduction -- 2. Platform strategy -- 3. Creator labor -- 4. Social media entertainment intermediaries -- 5. Authenticity, community, and brand culture -- 6. Cultural politics of social media entertainment -- 7. Globalizing social media entertainment -- 8. Conclusion

Call No: 408 ALL
Author: Allocca, Kevin
Place: London
Publisher: Bloomsbury Publishing
PubDate: 2018
PhysDes: xv, 335 pages : illustrations ; 22 cm.
Subject: YOUTUBE; ONLINE VIDEO PROGRAMMING; SOCIAL MEDIA AND THE CINEMA; SPECTATORSHIP; INTERNET
Summary: From YouTube's Head of Culture and Trends, a rousing and illuminating behind-the-scenes exploration of internet video's massive impact on our world. Whether your favorite YouTube video is a cat on a Roomba, Gangnam Style, the Bed Intruder song, an ASAPscience explainer, Rebecca Black's Friday, or the Evolution of Dance, Kevin Allocca's Videocracy reveals how these beloved videos and famous trends--and many more--came to be and why they mean more than you might think. YouTube is the biggest pool of cultural data since the beginning of recorded communication, with four hundred hours of video uploaded every minute. (It would take you more than sixty-five years just to watch to watch the vlogs, music videos, tutorials, and other content posted in a single day!) This activity reflects who we are, in all our glory and ignominy. As Allocca says, if aliens wanted to understand our planet, he'd give them Google. If they wanted to understand us, he'd give them YouTube. In Videocracy, Allocca lays bare what YouTube videos say about our society and how our actions online--watching, sharing, commenting on, and remixing the people and clips that captivate us--are changing the face of entertainment, advertising, politics, and more. Via YouTube, we are fueling social movements, enforcing human rights, and redefining art--a lot more than you'd expect from a bunch of viral clips.
Notes: Includes bibliographical references (pages 308-323) and index.
ISBN: 9781408880272