Genre   2092

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Snark aside, Mic sees signs of progress in its pivot to video - Digiday
Mic wouldn’t release hard numbers, but Mic publisher Cory Haik said average watch time and completion rates have increased as Mic has moved to these new formats, which share a few characteristics: They last up to two minutes, start with a strong visual, emphasize personal experiences and tie back to the news. “When you do work that showcases your smartest analysis, talks to new people and it’s your original reporting, it just does better,” she said.

Mic expects to release three to five more new video formats in the next few months; earlier formats, called Mic Check and The Movement, have been retired. Video is an all-hands-on-deck proposition at Mic; it doesn’t have a dedicated video team per se, but everyone in the newsroom is involved to some degree in creating video.
onlineVideo  mic  genre 
9 days ago by paulbradshaw
Travels in Fairyland: Oz reread - Mari Ness
Mari Ness rereads and reviews the 40 canonical books of Oz.
Oz  M+M  Reviews  Genre 
21 days ago by mgubbins
Sexy Ladies (Official Music Video) – Timaya | Official Timaya | Best Images Collections HD For Gadget windows Mac Android
Sexy Ladies (Official Music Video) – Timaya | Official Timaya Dem Mama Records presents Timaya’s new music video for the track Sexy Ladies, off the UPGRADE album. Awesome video directed by Clarence Peters Please Subscribe: http://www.youtube.com/subscription_center?add_user=officialtimaya Click here to watch more Timaya music videos, including the hot “Bum Bum Remix” featuring Jamaican Dancehall star Sean […]
IFTTT  WordPress  Sexy  bum  timaya  Genre  malo  nogede  Malonogede  naija  music  nigerian  nollymusic  Of  sean  paul  bum...  ladies  Mama 
29 days ago by wotek
Horror Head
Horror as a genre has a long history of engaging with our anxieties about modernity and its violence. Over the past 30 years, horror films have been a vehicle for confronting the ways technology tears open our understanding of the world we live in, and might one day tear open our bodies. This is most evident in tech-centric body horror, epitomized by the work of David Cronenberg (Videodrome, Existenz) but also seen in cult works like the cyberpunk horror film Tetsuo: The Iron Man. A more recent “tech boom” occurred in the early 2000s, first in Japanese horror (or “J-Horror”) and then later in the American remakes (the Ring series, One Missed Call, Pulse). Both of these subgenres deal with questions of embodiment in a technologized era. Cronenberg’s films depict tech/media as something that seduces the human body and then becomes a part of it, wrestling it from a person’s control and then transforming it in a visceral, often sexual way. More recent tech-horror tends to follow people who encounter a literal ghost in the machine — a vengeful spirit who haunts a telephone or computer, using the vessel to gain access to unsuspecting users and psychologically torturing them until they’re destroyed in the physical realm. In either case, the protagonists are punished for their curiosity, for giving in to the temptation to cross a physical or psychological boundary that is facilitated by their interaction with technology.

The films position the digital world as a place we consciously enter that is corruptible by other humans and vulnerable to haunting. They’re at the very least tech-anxious, if not techno-phobic, although more dated films did not anticipate the more insidious ways that tech actually became embedded in our embodied lives, nor the utopian promise of tech and cybernetics that Silicon Valley would sell consumers in the twenty-first century. In Cronenberg’s worlds, the digital is made flesh, and that is horrific. In our world the horror comes from our inability to escape our flesh and what we encounter in it.

In her text How We Became Posthuman, N. Katharine Hayles critiques the liberal humanist view that cognition takes precedence over the body. She traces the history of cybernetics and the concept of the posthuman that developed within it, claiming that the mind-body dualist fantasy that posthumanism relies upon ignores the fact that our embodied experiences are essential components in what makes us human in the first place. A posthuman reality would replicate the same oppressive structures that punish or reward people for who they are in their embodied lives, and would fail to erase the trauma that our bodies experience. The posthuman cannot liberate us if information and materiality are treated as mutually exclusive, as if our psychological selves are not constantly haunted by what our bodies and the bodies of others have endured, in our own lives and throughout history.

The posthuman cannot liberate us if information and materiality are treated as mutually exclusive, as if we are not haunted by what our bodies and the bodies of others have endured
This question of embodiment should inform our thinking about our lives online — about how our digital and embodied lives are not just intertwined but enmeshed, and about who does and does not get to move freely online and off without threat of harm. Whether or not it’s at the forefront of our minds, we engage with posthumanism every time we interface with a social networking platform; we have entire relationships, communities, and experiences that exist in digital spaces. But we can’t pretend they’re confined there. They reach out into our embodied worlds all the time; they enlighten us, they move us, and sometimes they traumatize us. The digital world is not a place we visit in order to escape our “real” lives and problems; we carry everything that has happened to our bodies “IRL” online, and it informs our online experiences and relationships as a result.

In a present where the promise of the posthuman is desirable to people — the idea that we can potentially escape the trappings of what it means to live in our individual, imperfect, sensitive bodies — horror does not arise from the fear of what happens when we abandon our bodily lives; it asks what happens if we cannot. If IRL experiences of embodied trauma follow us online, can we ever escape them? Did we ever have a chance?

It Follows and Unfriended, both released in 2014, occupy different parts of the horror film landscape. The former is critically adored for being a subtle, artsy (read: “highbrow”) commentary on sex and intimacy. The latter is regarded more as a typical teen slasher with a social media twist, digestible but forgettable. They treat tech very differently too: The entirety of Unfriended is told over the main characters’ computer screen, the narrative unfolding over social media and video chat platforms, while It Follows is almost completely devoid of modern tech devices, to the extent that it’s impossible to place the film temporally. Despite these distinctions, these films portray the horror of navigating social networks as someone marked by trauma.

In David Robert Mitchell’s It Follows, college student Jay sleeps with a new boyfriend, who then reveals to her that he has passed along a sexually transmitted haunting. The haunting takes the form of a person, who slowly walks in the direction of the haunted. No matter how far you flee, it reaches you eventually. He tells her, “It could look like someone you know, or a stranger in the crowd. Anything to get close to you.” The only solution is for Jay to pass it along to someone else and tell that person to do the same, to get the haunting further and further away from her. He then drops her, half-naked and shaking, in the street outside her house. Jay attempts to evade the haunting and eventually tries to pass it along through casual sex, but it always comes back.

Aside from a strange e-reader built into a clamshell compact, modern tech is noticeably absent from It Follows. This prevents us from pinpointing when the film takes place, and situates us in an uncanny space, separate from our reality while resembling it in eerie ways. This establishes a mood typical of classic weird horror (things are slightly “off”), but it also serves to set up the world we’re watching as an analogue of an online social network. While adults exist, they’re not really present in the narrative; the teenagers run all over the suburbs of Detroit (depicted as quintessential “suburbia”) unencumbered by anything but the haunting following them. When they do cross geographic boundaries, like the 8-Mile Road marker into Detroit proper, they don’t encounter people unless they seek to — they can tread into places outside of their racial and class geographies as they please. Despite the lack of modern tech, the film’s title indicates an awareness of the networked world the film was released into.

What haunts us online? What do we take with us into our digital lives that tethers us to embodied reality and prevents us from reaching this posthuman self?
Unfriended, directed by Levan Gabriadze, takes place entirely on the protagonist’s laptop screen, which serves as the viewer’s interface to the universe of the film. We follow her as she picks a song to play on Spotify and pokes around on Facebook until she meets her friends in a Skype group chat to discuss buying concert tickets. There’s an extra profile in the group that no one recognizes — a “glitch,” someone claims. They try to remove it to no avail, but don’t stress about it too much, until they begin receiving messages from the Facebook profile of their friend Laura who committed suicide a year prior. Laura’s ghost picks them off one by one, seeking revenge for the uploading of an embarrassing party video, and the subsequent trolling that drove her to end her life. Along the way she forces them to confess betrayals they’ve kept secret from one another, instilling feelings of pain and shame that each will carry with them to…well, wherever they’re going next.

The drama centers on the characters differentiating between what is or is not a crime, based on whether it was perpetrated online or off. They maintain a certain innocence and self-righteousness — “everyone else was doing it”; “it was just a joke” — and are punished for not admitting that their online selves are indistinguishable from their “real” selves, that their behavior in the digital world was representative of who they were as friends. No one expresses any visible regret until the very end of the film, when the last person left in the group chat is revealed to be the one who originally posted the video of Laura. She apologizes, and with this final acknowledgement of the collapse between her embodied and digital life, the ghost gets the recognition she seeks.

What haunts us online? What do we take with us into our digital lives that tethers us to embodied reality and prevents us from reaching this posthuman self? In Ghostly Matters, sociologist Avery Gordon defines haunting as “one way in which abusive systems of power make themselves known and their impacts felts in everyday life … it is an animated state in which a repressed or unresolved social violence is making itself known, sometimes very directly, sometimes more obliquely.” Gordon differentiates between haunting and trauma, claiming that while trauma lingers within us, it is more of an individualistic obstacle. Haunting, on the other hand, exists to push us towards action, to correct a violence that is social and historical: “Being haunted draws us affectively, sometimes against our will and always a bit magically, into the structure of feeling of a reality we come to experience, not as cold knowledge, but as a transformative recognition.”

In context of the posthuman, the hauntings in these films operate as information within digital channels. They … [more]
Horror  SocialMedia  db  Genre  Literature  Movies 
4 weeks ago by walt74
Genre Across Borders (GXB) | an international, interdisciplinary network of researchers, theories, and resources
Genre is a idea that crosses disciplinary, national, methodological, conceptual, and pedagogical borders. The purpose of Genre across Borders (GXB) is to advance genre theory and research by helping scholars and students cross these borders. The site combines two primary functions:
genre  Research 
6 weeks ago by paulbradshaw
Changing News Genres as a Result of Global Technological Developments: New news genres: Digital Journalism: Vol 0, No 0
Based on research carried out over two years amongst groups of students from the United Kingdom, France, United States and Russia, this article explores how churnalism is not only having an impact on what people read but also on how they read it, with far-reaching consequences for what has traditionally been perceived as the news genre. Drawing on genre as a social action, we explore the ways in which churnalism is changing news consumption. New news genres are appearing in response to new social interactions that users repeatedly act out predominantly online. As users, we produce and consume texts which we refer to as “news” in multiple situations which can be sorted into patterns. Our comparative analysis offers surprising insights into how these patterns form new news genres, characteristic of social media (many-to-many) instead of mass media (one-to-many). Genres should be studied not only through textual analysis but also through the prism of social reality and recurrent social actions, particularly now that users, rather than journalists, are taking a dominant role in identifying what constitutes news genres. Our perception of what defines news is determined by the changing ways in which we consume news.
genre  narrative  Research 
6 weeks ago by paulbradshaw

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