Media, Culture, and Politics in Indonesia is about the institutions and policies that determine what Indonesians write, read, watch, and hear. It covers the print media, broadcast radio and television, computers and the internet, videos, films and music. This book argues that the texts of the media can be understood in two broad ways: 1. as records of a "national" culture and political hegemony constructed by Suharto's New Order and 2. as contradictory, dissident, political and cultural aspirations that reflect the anxieties and preoccupations of Indonesian citizens. Media, Culture, and Politics, now brought back to life as a member of Equinox Publishing's Classic Indonesia series, explains what has escaped state control, not only by self-conscious resistance, but also because of the ownership patterns, technologies, and modes of consumption of media texts and institutions. The role of the media in the downfall of Suharto is examined and the legacy of his New Order is analyzed. This dynamic and innovative text is suitable for all students of Indonesian languages and culture, Asian studies, Southeast Asian studies, cultural studies, media studies, and contemporary politics. Krishna Sen is Professor of Asian Media and Dean of the Humanities Research Centre at Curtin University of Technology, Perth, Western Australia David T. Hill is Professor of Southeast Asian Studies and Fellow of the Asia Research Centre, Murdoch University, Perth, Western Australia

EBOOK: Introduction to Mass Communication: Media Literacy and Culture

When first published, Marshall McLuhan's Understanding Media made history with its radical view of the effects of electronic communications upon man and life in the twentieth century.

Hailed as one of the "most significant books of the twentieth century" by Journalism and Mass Communication Quarterly, Mediating the Message has long been an essential text for media effects scholars and students of media sociology. This new edition of the classic media sociology textbook now offers students a comprehensive, theoretical approach to media content in the twenty-first century, with an added focus on entertainment media and the Internet.

This book introduces readers to the Russian media, its current landscape, and its history by outlining the chief challenges faced by Russian journalists on their quest for media freedom. Focusing on how the Government has traditionally controlled the media through censorship, financial involvement, and relations between media moguls and the State, the book analyses to what extent the Russian media has become 'free' since the fall of Communism. The author questions whether freedom is possible at all in a society where the media has traditionally been so closely linked to the State. There are chapters on different forms of media including print, television, radio and the Internet. Each chapter identifies the main hurdles faced by the particular medium and considers the potential it has for becoming truly independent. Key features include: Vivid examples and case studies of the power play between television and the State during the tumultuous 1990s Clear outline of various different forms of media Comprehensive historical overview supported with examples from relevant publications Drawing on her own experience as a professional journalist, the author, provides a first hand account of what journalists in Russia are encountering today. This position allows the author to frankly discuss the tangible issues that impact those involved in the media and their audiences. By providing both a description of the current situation and an overview of Russian media history, The Media in Russia offers a unique introduction to the field and is key reading for students across various disciplines including Russian studies, media studies and politics.

What do we mean by ‘visual evidence’? How should we interpret visual texts, and what can they tell us? Why is ‘visual literacy’ so important and what benefits does it offer? Visual evidence encompasses a diverse range of media, from painting, cartoons and photography, to film, television and documentary. The central argument of this book is that visual evidence is a key to understanding both history and the present day and should not be relegated to a supporting role as merely illustrating the written word. The book shows students, scholars and researchers how to read the visual media to elicit meaning. As primary sources, visual texts can be studied not only for what is directly depicted in the painting or film but also for what it tells us about the people, cultures and societies that made them. Each chapter features fascinating case studies and examples which situate theory in real life. A major appeal of the book is the wealth of illustrations and photographs of visual texts which are included throughout. The authors make detailed reference to these examples to illustrate the theory surrounding visual evidence. An intriguing case study of an unknown girl’s photo album is just one of many examples offered, showing how we can analyze and learn from the visual text. This comprehensive and insightful edited collection brings together international media and cultural theorists, historians and art historians to demonstrate the value of visual evidence not only to media and cultural studies, but also to history, the general humanities and the social sciences.