Textbook list for DMP & MMJ Majors: Possible book title purchases

This edited collection comprises foundational texts and new contributions that revisit the theory of the «audience commodity» as first articulated by Dallas Smythe. Contributors focus on the historical and theoretical importance of this theory to critical studies of media/communication, culture, society, economics, and technology - a theory that has underpinned critical media studies for more than three decades, but has yet to be compiled in a single edited collection.
The primary objective is to appraise its relevance in relation to changes in media and communication since the time of Smythe’s writing, principally addressing the rise of digital, online, and mobile media. In addition to updating this perspective, contributors confront the topic critically in order to test its limits. Contextualizing theories of the audience commodity within an intellectual history, they consider their enduring relationship to the field of media/communication studies as well as the important legacy of Dallas Smythe.

In today's complex media environment, aspiring filmmakers and new media artists are as vulnerable as swimmers in shark-infested waters. This user-friendly guide supplies creative artists with the essential legal concepts needed to swim safely with lawyers, agents, executives, and other experts in intellectual property and business law.

How do I copyright my screenplay? How can I clear rights for my film project? What can I do to avoid legal trouble when I produce my mockumentary? How do I ascertain whether a vintage novel is in the public domain? Is the trademark I've invented for my production company available? What about copyright and trademark rights overseas? If I upload my film to YouTube, do I give up any rights?

Bill Seiter and Ellen Seiter answer these questions and countless others while also demystifying the fundamental principles of intellectual property. Clear and thorough, this plain-spoken and practical guide is essential for anyone seeking to navigate the rapidly changing media environment of today.

This book re-evaluates the way we examine today’s digital media environment. By looking at how popular culture uses different digital technologies, Digital Fandom bolsters contemporary media theory by introducing new methods of analysis. Using the exemplars of alternate reality gaming and fan studies, this book takes into account a particular «philosophy of playfulness» in today’s media in order to establish a «new media studies».
Digital Fandom augments traditional studies of popular media fandom with descriptions of the contemporary fan in a converged media environment. The book shows how changes in the study of fandom can be applied in a larger scale to the study of new media in general, and formulates new conceptions of traditional media theories.

Today we have access to an almost inconceivably vast amount of information, from sources that are increasingly portable, accessible, and interactive. The Internet and the explosion of digital media content have made more information available from more sources to more people than at any other time in human history. This brings an infinite number of opportunities for learning, social connection, and entertainment. But at the same time, the origin of information, its quality, and its veracity are often difficult to assess. This volume addresses the issue of credibility--the objective and subjective components that make information believable--in the contemporary media environment. The contributors look particularly at youth audiences and experiences, considering the implications of wide access and the questionable credibility of information for youth and learning. They discuss such topics as the credibility of health information online, how to teach credibility assessment, and public policy solutions. Much research has been done on credibility and new media, but little of it focuses on users younger than college students. Digital Media, Youth, and Credibility fills this gap in the literature.ContributorsMatthew S. Eastin, Gunther Eysenbach, Brian Hilligoss, Frances Jacobson Harris, R. David Lankes, Soo Young Rieh, S. Shyam Sundar, Fred W. WeingartenMiriam J. Metzger and Andrew J. Flanagin are Associate Professors in the Department of Communication at the University of California, Santa Barbara.

Digital Media Criticism is an introductory text about media criticism - the act of interpreting and making sense of a range of new media texts that we use (and create) on a daily basis - offering a critical language and a methodological template for interrogating and analyzing the complex texts of digital media. Individual chapters connect key methods of media criticism - genre, auteur, cultural/ideological, and ethnographic - with digital culture. Case studies of social media, user generated content, cell phones, and video games are provided, which include everything from downloading ring tones and making new (Facebook) friends, to creating an avatar, texting, and opening a window on RL (real-life).
Insightful and accessible, the book looks at the possibilities and limits of the digital age for us - as creators, consumers, and distributors of content. It will be useful to undergraduates studying media criticism, digital culture and communication, and media literacy, and is written to invite them into a conversation about the culture of the digital age.

This is the first textbook on the central ethical issues of digital media, ranging from computers and the Internet to mobile phones. It is also the first book of its kind to consider these issues from a global perspective, introducing ethical theories from multiple cultures.

The new edition of The Digital Media Handbook presents an essential guide to the historical and theoretical development of digital media, emphasising cultural continuity alongside technological change, and highlighting the emergence of new forms of communication in contemporary networked culture.

Andrew Dewdney and Peter Ride present detailed critical commentary and descriptive historical accounts, as well as a series of interviews from a range of digital media practitioners, including producers, developers, curators and artists.

The Digital Media Handbook highlights key concerns of today’s practitioners, analysing how they develop projects, interact and solve problems within the context of networked communication.

The Digital Media Handbook includes:

Essays on the history and theory of digital media

Essays on contemporary issues and debates

Interviews with digital media professionals

A glossary of technical acronyms and key terms.

Digital Media Worlds tracks the evolution of the media sector on its way toward a digital world. It focuses on core economic and management issues (cost structures, value network chain, business models) in industries such as book publishing, broadcasting, film, music, newspaper and video game.

Today's broadcasting students need a well-balanced, hands-on, and relevant guide to the radio industry. Digital Radio Production provides exactly that, and more. Using a holistic approach, the author shares his 20 years of experience in the field and his extensive knowledge of sales, promotion, programming, announcing, and the web and their importance to the production person. Fully updated, the second edition enhances students' technical skills by providing easy-to-understand presentations regarding digital audio, recording, storage, manipulation, audio processing, and special effects. Helpful tips and invaluable insights on the production person's role in a radio station and a realistic approach of how to get a first job in radio are also highlighted.

Digital Radio Production focuses on new technologies and trends with chapters that introduce students to core concepts vital to a successful career in radio. Each chapter features suggested activities to involve the student outside of class, industry websites for more information, and a chapter-by-chapter glossary of industry terms. The text includes a demonstration and music CD that features 93 audio examples of virtually every aspect of radio production, from microphone techniques to commercial production samples as well as an outstanding selection of production music and a custom studio-tracking session with suggested activities.

Making New Media offers a series of case studies from the author’s work with students and teachers from the mid-90s to the present day, charting the dramatic rise of new media in schools. Work across a wide range of media is presented: computer animation, digital video and film, computer games and machinima. The author tackles the vital contemporary themes of literacy and creativity, making an innovative argument for the combination of traditions of social semiotics and cultural studies in the study of literacy and new media. This volume should be read by every undergraduate and graduate student, as well as any faculty member, involved with or interested in any aspect of new media.

"Behind-the-scenes" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore—from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves.

Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of "media producers"—ranging from high-profile producers and directors to anonymous stagehands and costume designers—work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world.

This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century.

This book explores social networking sites as the digital field of cultural production by loosely drawing from Pierre Bourdieu’s notion of field and capital. The book examines four case studies on MySpace, YouTube, Second Life, and Indaba Music, and the roles and the impact they have on the music industry and musicians. In doing so, the author explores the groundbreaking developments that empower independent musicians and problematizes the emergence of a variety of issues symptomatic of social media environments at the height of convergence culture.

This guide provides an introduction to teaching digital video production to post-16 students. It demonstrates the importance of effective pre-production and gives advice on developments in digital production and how practical work can be used to engage with the media or film studies curriculum.

n today's media world, broadcast journalists need to do more than produce top-notch news reports. They must write stories that will be put on the air, as well as posted online or printed in tomorrow's paper. Multiplatform journalism is simply a fact of life for any up-and-coming journalist who wants to get ahead and compete for the industry's best jobs. So how do you teach your students to think beyond repurposing, to advance their stories to the next level, for any medium? Beginning with the premise that broadcast journalism is an excellent starting point for multimedia storytelling, broadcast veterans Debora Halpern Wenger and Deborah Potter build on the basics of good television reporting practices. "Advancing the Story" helps students understand the strengths of each medium, with depth, interactivity, and immediacy all playing a different role as content is separated from container. One approach does not fit all media - Wenger and Potter show students specific techniques and strategies for maximizing the advantages of each platform. In every chapter, the authors provide: Know and Tell reports, a distinctive feature in which dozens of professional journalists lend their expertise and insight on multiplatform approaches, trends, and industry changes. Trade Tools showcase select materials used in the authors' training seminars such as handy checklists of pointers and best practices. Taking it Home offers brief chapter wrap-ups. Talking Points provide questions and scenarios for in-class discussion. eLearning Opportunities include chapter exercises, practice tools, and additional resources found online in the book's interactive multimedia workbook.

Convergence is happening around the world. It represents a new form of reporting and may well be the future for journalism. Full convergence involves a radical change in approach and mindset among journalists and their managers. It involves a shared assignment desk where the key people, the multimedia assignment editors, assess each news event on its merits and send the most appropriate people to the story. Convergence coverage should thus be driven by the significance of the news event. Depending on variables unique to each country and company, convergence is one of the most likely scenarios for media organizations around the world.
This book explains the phenomenon of media convergence, defines what has been until recently a confusing topic, describes the main business models, provides case studies of successful convergent newsrooms around the world, and explains how to introduce convergence into the newsroom. Stephen Quinn provides a practical introduction to the changing landscape of news reporting, and has written a useful book for students and professionals alike.

Too long, too vapid and too expensive. Like many journalism instructors, R. Thomas Berner was familiar with these complaints, which college students often made about the textbooks assigned in their reporting, writing and copy editing classes. So Berner, a professor emeritus at Pennsylvania State University, decided to write Fundamentals of Journalism: Reporting, Writing and Editing, a student-friendly book with an affordable list price of only $29.95. This 355-page book distills much of the content in other books Berner wrote during his 28 years at Penn State.

Journalism has embraced digital media in its struggle to survive. But most online journalism just translates existing practices to the Web: stories are written and edited as they are for print; video and audio features are produced as they would be for television and radio. The authors of Newsgames propose a new way of doing good journalism: videogames. Videogames are native to computers rather than a digitized form of prior media. Games simulate how things work by constructing interactive models; journalism as game involves more than just revisiting old forms of news production. Wired magazine's game Cutthroat Capitalism, for example, explains the economics of Somali piracy by putting the player in command of a pirate ship, offering choices for hostage negotiation strategies. Videogames do not offer a panacea for the ills of contemporary news organizations. But if the industry embraces them as a viable method of doing journalism -- not just an occasional treat for online readers -- newsgames can make a valuable contribution.

In this much-needed examination of the principles of multimedia journalism, experienced journalists Richard Koci Hernandez and Jeremy Rue systemize and categorize the characteristics of the new, often experimental story forms that appear on today's digital news platforms. By identifying a classification of digital news packages, and introducing a new vocabulary for how content is packaged and presented, the authors give students and professionals alike a way to talk about and understand the importance of story design in an era of convergence storytelling.

Every journalist must be able to conduct an interview and write snappy copy. No matter what field they are working in journalists also need to be able to wield a digital recorder, take photographs, talk to camera convincingly, and create content for online delivery. Reporting in a Multimedia World offers a thorough overview of the core skills journalists need for the 21st century. The authors show how to generate story ideas, handle interviews, write for different audiences, and edit your own copy. They explain the basics of news photography and broadcast media, the requirements of different digital platforms, and the challenges of user generated content. They also look at professional issues: the use of social media by journalists, legal and ethical issues, and career strategies. Thoroughly revised to reflect the rapid changes in media as a result of digital technologies, and written in a lively style with case studies and tips from experienced journalists, Reporting in a Multimedia World is an ideal introduction to an exciting and demanding profession.