Journal Articles
Permanent URI for this collectionhttps://mro.massey.ac.nz/handle/10179/7915
Browse
10 results
Search Results
Item Editorial, Special Issue: music/media/politics(1/03/2015) Wilson OR; Overell RItem Access, Place and Australian Live Music(2016-06) Carter D; Whiting SItem The betrayals of Rainer Werner Fassbinder’s Querelle (1982)(2016-03) Henry CItem Diminishing Dreams: The Scoping Down of the Music NFT(M/C - Media and Culture, 4/04/2022) Rogers I; Carter D; Morgan BA; Edington AIn a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or provocations concerning music’s commercial and social future. What is convened in this era (pre-2017 blockchain music discourse and practice) is the potential for change: a type of widespread, broadly discussed, reimagination of the 21st-century music industries, productive precisely because near-future applications suggest the realisation of what Baym et al. call dreams. In this article, we aim to examine the Web3 music field as it lies some years later. Taking the latter half of 2021 as our subject, we present a survey of where music then resided within Web3, focussing on how the dreams of Baym et al. have morphed and evolved, and materialised and declined, in the intervening years. By investigating the discourse and functionality of 2021’s current crop of music NFTs—just one thread of music Web3’s far-reaching aspiration, but a potent and accessible manifestation nonetheless—we can make a detailed analysis of concept-led application. Volatility remains throughout the broader sector, and all of the projects listed here could be read as conditionally short-term and untested, but what they represent is a series of clearly evolved case studies of the dream, rich precisely because of what is assumed and disregarded.Item Editorial: Surveillance, copyright, privacy(Media NZ, 1/12/2014) Farnsworth J; Fisher K; Pearson EEItem Interactive cinema is an oxymoron, but may not always be(Game Studies, 30/09/2012) Veale KR"Interactive Cinema" is a term that has been associated with videogames within historical media discourse, particularly since the early nineties due to the proliferation of CD-ROM technology. It is also a fundamental misnomer, since the processes of experiential engagement presented by the textual structures of videogames and cinema are mutually exclusive. The experience of cinematic texts is defined, in part, by the audience's lack of ability to alter events unfolding within the film's diegesis. In comparison, the experience of videogames is tied inextricably to the player's investment and involvement within the game's textual diegesis, and within a Heideggerian world-of-concern. However, there has been a recent development that suggests a bridge between these two structures: texts which are less defined by their ludic qualities than by a set structure - but where the affective qualities of the experience rely entirely on the direct involvement of the person engaging with the text. These are a storytelling form which are neither "played" or "watched," and it may be that "interactive cinema" is an appropriate way of conceptualising these experiences.Item Establishing relations: Photography in wordless comics(Katholieke Universiteit Leuven, 2015) Postema B; Pedri, NItem Distribution Revolution? The circulation of film and cultural capital(Department of Theatre Film and Television Studies University of Wales, 2019-05) Huffer IOnline methods of film distribution, both legal and illegal, have been positioned as a disruptive force, altering the dynamics of the film industry and patterns of viewing behaviour. Consideration of the relationship between these new methods and power relations between the socio-demographic groups using them has been somewhat limited though. This article focuses centrally upon these power relations via an examination of the relationship between patterns of film consumption in New Zealand and the circulation of cultural capital. Using quantitative analysis of survey data, the article considers the extent to which Bourdieusian social/cultural hierarchies can be mapped onto the use of particular methods of film consumption and the viewing of particular types of film (by genre and nationality). It also considers what these patterns reveal about the circulation of more pluralised notions of cultural capital, and whether the power of particular groups may reside in their omnivorousness. The article ultimately finds that the potential contribution of online methods of film distribution to the disruption of social/cultural hierarchies is fairly minimal. This is due to the extent to which their use is, in part, structured by these hierarchies and the unequal distribution of economic and cultural capital.Item The uses of hate: On hate as a political category(Queensland University of Technology, 15/03/2017) Duncan PKItem Causes for concern: The state of New Zealand journalism in 2015(1/01/2016) Hollings J; Hanusch F; Balasubramanian R; Lealand G© 2016, Pacific Media Centre, Auckland University of Technology. All rights reserved.This survey of New Zealand journalists, completed in late 2015, shows the impact of the rapid move to a digital news environment. Journalists are more educated, but working longer hours and feeling more pressure, both ethically and resource-wise, than they were only two years ago. Technological changes are felt acutely, particularly the use of social media and user-generated content. Journalists are concerned that advertising and commercial pressures are stronger, while overall standards are weakening. This study also shows, for the first time, that women are seriously disadvantaged in pay and promotion despite making up most of the workforce. Despite these challenges, overall job satisfaction remains at similar levels to previous surveys and journalists’ own commitment to ethical standards and journalism’s fourth-estate role remains strong.
