Search results for ""Author David Craig""

In the Clearances of the 19th century, crofts - once the mainstay of Highland life in Scotland - were swept away as the land was put over to sheep grazing. Many of the people of the Highlands and islands of Scotland were forced from their homes by landowners in the Clearances. Some fled to Nova Scotia and beyond. David Craig sets out to discover how many of their stories survive in the memories of their descendants. He travels through 21 islands in Scotland and Canada, many thousands of miles of moor and glen, and presents the words of men and women of both countries as they recount the suffering of their forbears.

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People have been writing "Greetings from Havre de Grace" since 1789, making this one of the oldest postal addresses in the country. The rich history of the "Harbor of Hope" on the Chesapeake Bay is documented in 265 postcard images, all from the early 20th century. The cards depict well-known images such as the famous "double-decker bridge," the Concord Point Lighthouse, and many waterfront and boating scenes for which the city is known. Over 800 homes and other structures make up a large portion of the city, listed on the National Register of Historic Districts. Architectural styles range from stately Federal, Greek Revival, Italianate, and Queen Anne styles to Victorian stone mansions. The book portrays buildings that have thankfully been preserved, others that have undergone drastic changes, and sadly, many that have succumbed to development. This book evokes happy memories for current and past residents and is an important architectural guide for historians and preservationists.

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Winner, 2020 Outstanding Book Award, given by the International Communication Association Honorable Mention, 2020 Nancy Baym Book Award, given by the Association of Internet Researchers How the transformation of social media platforms and user-experience have redefined the entertainment industry In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, have given rise to a new creative industry: social media entertainment. Operating at the intersection of the entertainment and interactivity, communication and content industries, social media entertainment creators have harnessed these platforms to generate new kinds of content separate from the century-long model of intellectual property control in the traditional entertainment industry. Social media entertainment has expanded rapidly and the traditional entertainment industry has been forced to cede significant power and influence to content creators, their fans, and subscribers. Digital platforms have created a natural market for embedded advertising, changing the worlds of marketing and communication in their wake. Combined, these factors have produced new, radically shifting demands on the entertainment industry, posing new challenges for screen regimes, media scholars, industry professionals, content creators, and audiences alike. Stuart Cunningham and David Craig chronicle the rise of social media entertainment and its impact on media consumption and production. A massive, industry-defining study with insight from over 100 industry insiders, Social Media Entertainment explores the latest transformations in the entertainment industry in this time of digital disruption.

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Winner, 2020 Outstanding Book Award, given by the International Communication Association Honorable Mention, 2020 Nancy Baym Book Award, given by the Association of Internet Researchers How the transformation of social media platforms and user-experience have redefined the entertainment industry In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, have given rise to a new creative industry: social media entertainment. Operating at the intersection of the entertainment and interactivity, communication and content industries, social media entertainment creators have harnessed these platforms to generate new kinds of content separate from the century-long model of intellectual property control in the traditional entertainment industry. Social media entertainment has expanded rapidly and the traditional entertainment industry has been forced to cede significant power and influence to content creators, their fans, and subscribers. Digital platforms have created a natural market for embedded advertising, changing the worlds of marketing and communication in their wake. Combined, these factors have produced new, radically shifting demands on the entertainment industry, posing new challenges for screen regimes, media scholars, industry professionals, content creators, and audiences alike. Stuart Cunningham and David Craig chronicle the rise of social media entertainment and its impact on media consumption and production. A massive, industry-defining study with insight from over 100 industry insiders, Social Media Entertainment explores the latest transformations in the entertainment industry in this time of digital disruption.

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This novel, from a foremost expert on the Clearances, tells the story of Flo Campbell and her eviction from the family's island home, and all her subsequent struggles. The compelling storyline has terrific energy, from the Battle of the Braes and Flo's departure from the island to her travels and employment on Skye and beyond. Flo's spirit remains unquenched whether challenged by the faithlessness of lovers or the callousness of employers and she is a historical witness who embodies the undying memories of her Highland people. She spends much of her life in the lowlands of Britain and in this as in many ways she incarnates the crofters, fishermen, labourers and artists who spring from that epic northern terrain. This is a masterful portrayal of the perverse power and wretched consequences of the Clearances and how they transformed the lives of individuals, and also the power of a native landscape in a Celtic breast.

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Explores new perspectives on social media entertainment There is a new class of cultural producers—YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others—who are part of a rapidly emerging and highly disruptive industry of monetized “user-generated” content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied. In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies. This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries. Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill

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Explores new perspectives on social media entertainment There is a new class of cultural producers—YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others—who are part of a rapidly emerging and highly disruptive industry of monetized “user-generated” content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied. In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies. This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries. Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill

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On November 20, 1983, a three-hour made-for-TV movie The Day After premiered on ABC. Set in the heartland of Lawrence, Kansas, the film depicted the events before, during, and after a Soviet nuclear attack with vivid scenes of the post-apocalyptic hellscape that would follow. The film was viewed by over 100 million Americans and remains the highest rated TV movie in history. After the premiere, ABC News aired an episode of Viewpoint, a live special featuring some of the most prominent public intellectuals of the debating the virtues of the Arms Race and the prospect of a winnable nuclear war. The response to the film proved more powerful than perhaps any film or television program in the history of media. Aside from its record-shattering Nielsen ratings, it enjoyed critical acclaim as well as international box office success in theatrical screenings.The path to primetime for The Day After proved nearly as treacherous as the film’s narrative. Battles ensued behind the scenes at the network, between the network and the filmmakers, with Broadcast Standards and Ad Sales, in the edit room and on the set, including the “nuke-mares” experienced by the cast. After the director was pushed aside, he contemplated suicide while also engineering a comeback through the press. But these skirmishes pale in comparison to the culture wars triggered by the film in the press, alongside a growing Nuclear Freeze movement, and from a united, pro-nuclear Right. Once efforts to alter the script failed, the White House conducted a full-throttled propaganda campaign to hijack the film’s message.Before The Day After features a dramatic insider’s account of the making of and backlash against The Day After. No other book has told this story in similar fashion, venturing behind-the-scenes of the programming and news divisions at ABC, Reagan officials in the White House who mounted the propaganda campaign, rogue publicists who hijacked the film to promote a Nuclear Freeze, the backlash from the conservative movement and Religious Right, the challenges encountered by film’s production team from conception to reception, and the experiences of the citizens of Lawrence, Kansas, where the film was set and shot, if also, ground zero in America’s nuclear heartland.

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In Chinese, the term wanghong refers to creators, social media entrepreneurs alternatively known as KOLs (key opinion leaders) and zhubo (showroom hosts), influencers and micro-celebrities. Wanghong also refers to an emerging media ecology in which these creators cultivate online communities for cultural and commercial value by harnessing Chinese social media platforms, like Weibo, WeChat, Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts of cultural, creative, and social industries, the book maps the development of wanghong policies and platforms, labor and management, content and culture, as they operate in contrast to its non-Chinese counterpart, social media entertainment, driven by platforms like YouTube, Facebook, Instagram, and Twitch. As evidenced by the backlash to TikTok, the threat of competition from global wanghong signals advancing platform nationalism.

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