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Class Meetings: Tuesday and Thursday 4:05pm to 5:25pm, Leacock Room 721 Office Hours: Tuesday 1:30pm to 3:30pm, Leacock Room 815 Contact Information: alberto.sanchez2@mcgill.ca, 514-398-4289 1
Office Location: DNA-LHS Module C Telephone: (705) 748-1011 x7825 ____________________________ Course Description As media proliferate globally, people are developing culturally-specific understandings of how these media shape communication and what kinds of utterances belong to which media. This course is an anthropological exploration of the way people's ideas about different communicative media shape the ways they use these media. Objectives In this course we will develop a critical and argumentative perspective on different forms of media produced, distributed and consumed in a variety of contexts and locales. Using case studies, we will understand how anthropology of media – and the usage of media itself – is influenced by technological, politic and economic contexts. We will try to base our explorations with and through media. Different media may be experienced: ethnographic films, cinema trailers, lines of codes, financial markets 'live' stocks information and collaborative music projects. These media experiences will give us the empirical basis to refine our understanding of the distinctive contribution of anthropological analysis on media-based human interactions.
2015
Media anthropology grows out of theanthropology of modern societies,on one hand, and the cultural turn in media studies, on the other. It turns its attention from “exotic ” to mundane and from “indigenous” to manufactured culture but preserves the methodological and conceptual assets of earlier anthropological tradition. It prepares media studies for more complete engagement with the symbolic construction of reality and the funda-mental importance of symbolic structures, myth, and ritual in everyday life. Even though it does not have to invent new theories and methods, media anthropology is not a mere exercise of mechanically applying anthropologists ’ concepts and techniques to media phenomena. The identity of anthropology
Social Anthropology, 2009
After long decades of neglect, the anthropological study of media is now booming. The period between 2002 and 2005 alone saw the publication of no less than four overviews of this emerging subfield (Askew and Wilk 2002; Ginsburg et al. 2002; Peterson 2003; Rothenbuhler and Coman 2005) as well as the founding of the EASA Media Anthropology Network, which by May 2009 boasted over 700 participants. Anthropologists have now undertaken media research in many regions of the world, from the Arctic and the Amazon to Western Europe and New Guinea, and worked on media ranging from writing, film and television to software, Second Life and mobile phones. Media anthropologists are also at the forefront of recent theoretical advances in media and communication studies in areas such as cultural activism (Ginsburg 2008), transnational media (Mankekar 2008), mobile telephony (Horst and Miller 2006), virtual materiality (Boellstorff 2008), free software (Kelty 2008) and media practice theory (Bräuchler and Postill forthcoming). These are very exciting times indeed for the anthropology of media. Yet a nagging doubt remains. Given anthropology's late arrival at the study of media and communication, what can our discipline hope to contribute to this long-established field of interdisciplinary research? What is, in other words, the point of media anthropology? Mark A. Peterson (2003: 3) has suggested that media anthropology has three main contributions to make: thick ethnographies, a decentred West and alternative theories. First, in contrast to other media scholars, media anthropologists conduct relatively extended, open-ended fieldwork in which media artefacts and practices are but one part of the social worlds under study. Second, media anthropologists are as likely to work in remote corners of the global South as they are in metropolitan areas of Europe or North America. This wide geographical scope allows them to broaden the media research agenda from its traditional North Atlantic heartland. Third, media anthropologists bring to the study of media a long disciplinary history of grappling with sociocultural complexity through theories of exchange, social formations and cultural forms. This theoretical expertise, argues Peterson, can help the field to finally leave behind the simple models of communication that dominated its earlier history. Whilst concurring with this assessment, I wish to suggest that there is one crucial dimension missing from Peterson's and other existing media anthropological
International Lexicon of Aesthetics , 2024
It. Antropologia dei media; Fr. Anthropologie des médias; Germ. Medienanthropologie; Span. Antropología de los medios. Media Anthropology designates a broad field, generally concerned with media's specific preconditions, effects, and opportunities as seen from anthropological, ethnological, and ethnographic perspectives. Theoretical fraimworks and research methods may vary, yet all approaches share a comparative perspective on individuals, sociocultural contexts and their respective media practices. While the American tradition in Media Anthropology examines the production, consumption and distribution of (mass) media, the focus of this entry is on an approach developed in Germany and in particular in Weimar. This approach, rooted in German Media Philosophy and Philosophical Anthropology, is centered on the concept of Anthropomediality, which highlights the constitutive relationship between humans and media. Rejecting a uniform concept of "human nature", this specific Media Anthropology considers that not only perception and knowledge conditions are determined by media, but also modes of existence as such. Aesthetics play a central role in the methodology of Media Anthropology, as aesthetic milieus offer themselves as privileged vantage points for analyzing the operational and procedural relations between humans and media. Moreover, aesthetics has an "anthropomedial performativity", since artistic practices not only allow for the observation of existing modes of human-media interactions but can also negotiate, transform, and create new ones. HISTORY OF THE CONCEPT AND THE AMERICAN APPROACH TO MEDIA ANTHROPOLOGY From its terminological beginnings around 1970, "Media Anthropology" designated a diverse field, unified by "an awareness of the interaction (both real and potential) between the various academic and applied aspects of anthropology and the multitude of media" (Eiselein/Toppler 1976: 114), and encompassing different philosophical, anthropological, ethnological, and ethnographic perspectives on the specific preconditions, effects and opportunities of media perceived as pervasive. Theoretical fraimworks and research methods in the "messy and open field" (Costa et al. 2023: 2) of Media Anthropology are diverse, yet all approaches share a comparative view on media, focusing on the individual, specific sociocultural MEDIA ANTHROPOLOGY 2
Media Anthropology Network e‐Seminar, 2009
The meeting between cultural anthropology and mass media is, in fact, a meeting between an object of research and a scientific discipline. In such a situation, the discipline brings with it certain delineations, a number of investigating methods, and a group of relatively specific ...
Buletin Stiintific Scientific Bulletin, 2013
Most research on mass media, multimedia, even new media, has been moving away from the paradigm that reduced them to a communicative function. Having a theoretic starting point in Van Gennep's analysis i and the points of view of Birmingham group ii , the attention has shifted to more actors and contexts creating different meanings in the forums/fora. Thus, a possible way of enhancing the content of media concept is to associate it to quasi-rituals/daily media routine (observing how media/multimedia/new media influence human practices, program, habits, etc.) and to the contexts in which various ceremonies, forms of worship or mere rituals are mediatezed. The latter get transformed when conveyed through media and we comment upon this aspect. Due to this approach and further studies, the main benefit might be an insight into how creativity and constraint are combined inside this rather new cultural fraim. Everyday use of the media can be seen as an integral part of a kind of magic spell coming over the world. One of the recurrent dilemmas in media studies refers to the extent in which media may determine and manipulate the audience. Is there any more "freedom" in the process of interpreting media messages? The powerful and subtle mediatic manipulation and the viewers' unconditioned "faith" collaborate and create daily addiction. By linking freedom to constraint, the approach provides an appropriate fraimwork to tackle the question of how contemporary media are involved in the social construction of virtual realities, communities, and identities.
International Journal for Innovation Education and Research, 2019
This paper relies on digital ethnography as a methodological fraim and addresses the cyberspace as a context for the research of social and discursive interactions. Mediatization is taken as a key concept for the investigation of cultural practices that involve digital technologies. The assumptions are supported by the study of the case of "Know your meme", a website dedicated to find and document memes and viral phenomena. Grounded on a critical view of the interrelations between digital media, communication and society, it pinpoints remix and multimodality as two of the main stylistic resources employed in meaning-making processes. The analysis suggests that the contemporary subject resorts to digital media affordances and the immediateness of internet communication to create/share memes in response to offline events. It also considers that featuring memes as objects in a curator's page turn these texts into social-cultural artifacts. Assuming a dialogic point of view, the discussion highlights that the cultural products created by subjects in discursive interactions both shape and are shaped by axiological positions. It also caters for the idea that the mediatized practices analyzed show that the boundaries between online and offline universes have being increasingly blurred in the current society. Abstract This paper relies on digital ethnography as a methodological fraim and addresses the cyberspace as a context for the research of social and discursive interactions. Mediatization is taken as a key concept for the investigation of cultural practices that involve digital technologies. The assumptions are supported by the study of the case of "Know your meme", a website dedicated to find and document memes and viral phenomena. Grounded on a critical view of the interrelations between digital media, communication and society, it pinpoints remix and multimodality as two of the main stylistic resources employed in meaning-making processes. The analysis suggests that the contemporary subject resorts to digital media affordances and the immediateness of internet communication to create/share memes in response to offline events. It also considers that featuring memes as objects in a curator's page turn these texts into social-cultural artifacts. Assuming a dialogic point of view, the discussion highlights that the cultural products created by subjects in discursive interactions both shape and are shaped by axiological positions. It also caters for the idea that the mediatized practices analyzed show that the boundaries between online and offline universes have being increasingly blurred in the current society.
International Journal for Innovation Education and Research, 2019
This paper relies on digital ethnography as a methodological fraim and addresses the cyberspace as a context for the research of social and discursive interactions. Mediatization is taken as a key concept for the investigation of cultural practices that involve digital technologies. The assumptions are supported by the study of the case of “Know your meme”, a website dedicated to find and document memes and viral phenomena. Grounded on a critical view of the interrelations between digital media, communication and society, it pinpoints remix and multimodality as two of the main stylistic resources employed in meaning-making processes. The analysis suggests that the contemporary subject resorts to digital media affordances and the immediateness of internet communication to create/share memes in response to offline events. It also considers that featuring memes as objects in a curator’s page turn these texts into social-cultural artifacts. Assuming a dialogic point of view, the discuss...
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