By Jonathan Gray
While the assumption of authorship has transcended the literary to play a significant position within the cultures of movie, tv, video games, comics, and different rising electronic varieties, our knowing of it's nonetheless too usually restricted to assumptions approximately solitary geniuses and person inventive expression. A spouse to Media Authorship is a ground-breaking assortment that re-frames media authorship as a question of tradition during which authorship is as a lot a building tied to authority and gear because it is a optimistic and inventive strength of its own.
Gathering jointly the insights of prime media students and practitioners, 28 unique chapters map the sphere of authorship in a state-of-the-art, multi-perspectival, and actually authoritative demeanour. The individuals boost new and cutting edge methods of pondering the practices, attributions, and meanings of authorship. They situate and think about authorship inside collaborative types of business construction, socially networked media structures, globally various traditions of creativity, complicated intake practices, and a number of institutional and social contexts. jointly, the essays give you the definitive research at the topic by means of demonstrating that authorship is a box during which media tradition could be remodeled revitalized, and reimagined.
Chapter 1 creation (pages 1–19): Derek Johnson and Jonathan Gray
Chapter 2 Authorship and the Narrative of the Self (pages 21–47): John Hartley
Chapter three The go back of the writer (pages 48–68): Kristina Busse
Chapter four Making song (pages 69–87): Olufunmilayo B. Arewa
Chapter five whilst is the writer? (pages 88–111): Jonathan Gray
Chapter 6 Hidden palms at paintings (pages 112–132): Colin Burnett
Chapter 7 Participation is Magic (pages 133–157): Derek Johnson
Chapter eight Telling Whose tales? (pages 158–180): Brian Ekdale
Chapter nine by no means finishing tale (pages 181–199): Michele Hilmes
Chapter 10 From Chris Chibnall to Fox (pages 200–220): Matt Hills
Chapter eleven Comics, Creators, and Copyright (pages 221–236): Ian Gordon
Chapter 12 “Benny Hill Theatre” (pages 237–256): Anamik Saha
Chapter thirteen Cynical Authorship and the Hong Kong Studio approach (pages 257–274): Stephen Teo
Chapter 14 The Authorial functionality of the tv Channel (pages 275–295): Catherine Johnson
Chapter 15 The Mouse residence of playing cards (pages 296–313): Lindsay Hogan
Chapter sixteen Transmedia Architectures of construction (pages 314–323): Jonathan Gray
Chapter 17 Dubbing the Noise (pages 324–345): Mia Consalvo
Chapter 18 Authorship Below?the?Line (pages 347–369): John T. Caldwell
Chapter 19 creation layout and the Invisible Arts of Seeing (pages 370–390): David Brisbin
Chapter 20 Scoring Authorship (pages 391–402): Derek Johnson
Chapter 21 #Bowdown on your New God (pages 403–425): Louisa Ellen Stein
Chapter 22 Collaboration and Co?Creation in Networked Environments (pages 426–439): Megan Sapnar Ankerson
Chapter 23 sunrise of the Undead writer (pages 440–462): Suzanne Scott
Chapter 24 Authoring Hype in Bollywood (pages 463–484): Aswin Punathambekar
Chapter 25 Auteurs on the Video shop (pages 485–505): Daniel Herbert
Chapter 26 Authorship and the nation (pages 506–524): Hector Amaya
Chapter 27 Scripting Kinshasa's Teleserials (pages 525–543): Katrien Pype
Chapter 28 “We by no means Do something on my own” (pages 544–550): Jonathan grey and Derek Johnson
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Additional info for A Companion to Media Authorship
36 John Hartley ‘‘The photographs will be forever’’ Returning to the season’s ‘‘energy and optimism,’’63 and to Vogue’s cover, various people may qualify as its potential authors, should any ‘‘principle of thrift’’64 be required. Chief among them is the Peruvian photographer Mario Testino, responsible for the cover photo, ‘‘Kiss Me, Kate’’ feature, and Kate’s wedding portfolio. ’’65 Testino is no author, even though the art/photography publisher Taschen had recently released a book of his photos called Kate Moss by Mario Testino.
51 All this seems predictably generic, but that only masks the true meaning of the story. In fact, ‘‘real life’’ proves a little too gritty to be shown on the cover, because Kate Moss’s actual wedding dress was made by British designer John Galliano. This too was highly newsworthy, but not in a ‘‘romantic’’ way. 52 This celebrated story, scooped by the Murdoch tabloid The Sun in the UK in March 2011, had already cost Galliano his job as chief designer for Dior. It was dealt with by the French courts in September, while the September issue itself was still on the world’s newsstands.
In telling Galliano’s story as a romance of redemption, Vogue is on its own. More typical was the generally hostile reaction when he was sentenced to a token fine and costs rather than doing 6 months in chokey. ’’61 Despite its editorial line, Vogue remained institutionally tight-lipped. A reporter for New York magazine canvassed reactions from, among others, Vogue’s photo director Ivan Shaw: Q: What was the mood in the Vogue office today with the Galliano verdict? A: I couldn’t tell you. Q: Is the magazine planning on addressing the story?
A Companion to Media Authorship by Jonathan Gray