In the age of "complex Tv", of social networking and massive consumption of transmedia narratives, a myriad short-lived phenomena surround films and TV programs raising questions about the endurance of a fictional world and other mediatized discourse over a long arc of time. The life of media products can change direction depending on the variability of paratextual materials and activities such as online commentaries and forums, promos and trailers, disposable merchandise and gadgets, grassroots video production, archives, and gaming. This book examines the tension between permanence and obsolescence in the production and experience of media byproducts analysing the affections and meanings they convey and uncovering the machineries of their persistence or disposal. Paratexts, which have long been considered only ancillary to a central text, interfere instead with textual politics by influencing the viewers’ fidelity (or infidelity) to a product and affecting a fictional world’s "life expectancy". Scholars in the fields of film studies, media studies, memory and cultural studies are here called to observe these byproducts' temporalities (their short form and/or long temporal extention, their nostalgic politics or future projections) and assess their increasing influence on our use of the past and present, on our temporal experience, and, consequently, on our social and political self-positioning through the media.

This book assesses the interplay between social media, political polarization, and civic engagement, focusing on countries with differing media environments, cultural specifics, and degrees of democratization. Taken from a variety of disciplinary perspectives and based on innovative theoretical interventions and empirically grounded research, the contributions to this volume share a common aspiration to understand the democratic character of the new, and thus far largely unknown, media regime. Such a regime has the potential to both enhance and undermine democracy, in a time where the vulnerability of democracy is more obvious than ever before. Featuring research from the USA, Western Europe, the Middle East, and East Asia, this book will be of interest to those studying recent political events in these regions, as well as to those scholars of media studies whose research focuses on the inter-relation of politics, communication and the media. This book was originally published as a special issue of Information, Communication & Society.

Digital media everyday inscribe new patterns of time, promising instant communication, synchronous collaboration, intricate time management, and profound new advantages in speed. The essays in this volume reconsider these outward interfaces of convenience by calling attention to their supporting infrastructures, the networks of digital time that exert pressures of conformity and standardization on the temporalities of lived experience and have important ramifications for social relations, stratifications of power, practices of cooperation, and ways of life. Interdisciplinary in method and international in scope, the volume draws together insights from media and communication studies, cultural studies, and science and technology studies while staging an important encounter between two distinct approaches to the temporal patterning of media infrastructures, a North American strain emphasizing the social and cultural experiences of lived time and a European tradition, prominent especially in Germany, focusing on technological time and time-critical processes.

This interdisciplinary, international collection examines how sophisticated digital practices and technologies exploit and capitalize on emotions, with particular focus on how social media are used to exacerbate social conflicts surrounding racism, misogyny, and nationalism. Radically expanding the study of media and political communications, this book bridges humanities and social sciences to explore affective information economies, and how emotions are being weaponized within mediatized political landscapes. The chapters cover a wide range of topics: how clickbait, "fake news," and right-wing actors deploy and weaponize emotion; new theoretical directions for understanding affect, algorithms, and public spheres; and how the wedding of big data and behavioral science enables new frontiers of propaganda, as seen in the Cambridge Analytica and Facebook scandal. The collection includes original interviews with luminary media scholars and journalists. The book features contributions from established and emerging scholars of communications, media studies, affect theory, journalism, policy studies, gender studies, and critical race studies to address questions of concern to scholars, journalists, and students in these fields and beyond.

As the 'thresholds' through which readers and viewers access texts, paratexts have already sparked important scholarship in literary theory, digital studies and media studies. Translation and Paratexts explores the relevance of paratexts for translation studies and provides a framework for further research. Writing in three parts, Kathryn Batchelor first offers a critical overview of recent scholarship, and in the second part introduces three original case studies to demonstrate the importance of paratextual theory. Batchelor interrogates English versions of Nietzsche, Chinese editions of Western translation theory, and examples of subtitled drama in the UK, before concluding with a final part outlining a theory of paratextuality for translation research, addressing questions of terminology and methodology. Translation and Paratexts is essential reading for students and researchers in translation studies, interpreting studies and literary translation.

From the inception of cinema to today’s franchise era, remaking has always been a motor of ongoing film production. Hollywood Remaking challenges the categorical dismissal in film criticism of remakes, sequels, and franchises by probing what these formats really do when they revisit familiar stories. Kathleen Loock argues that movies from Hollywood’s large-scale system of remaking use serial repetition and variation to constantly negotiate past and present, explore stability and change, and actively shape how the film industry, cinema, and audiences imagine themselves. Far from a simple profit-making exercise, remaking is an inherently dynamic practice situated between the film industry’s economic logic and the cultural imagination. Although remaking developed as a business practice in the United States, this book shows that it also shapes cinematic aesthetics and cultural debates, fosters film-historical knowledge, and promotes feelings of generational belonging among audiences.