In a declaration of the ascendance of the American media industry, nineteenth-century press barons in New York City helped to invent the skyscraper, a quintessentially American icon of progress and aspiration. Early newspaper buildings in the country's media capital were designed to communicate both commercial and civic ideals, provide public space and prescribe discourse, and speak to class and mass in equal measure. This book illustrates how the media have continued to use the city as a space in which to inscribe and assert their power. With a unique focus on corporate headquarters as embodiments of the values of the press and as signposts for understanding media culture, Media Capital demonstrates the mutually supporting relationship between the media and urban space. Aurora Wallace considers how architecture contributed to the power of the press, the nature of the reading public, the commercialization of media, and corporate branding in the media industry. Tracing the rise and concentration of the media industry in New York City from the mid-nineteenth century to the present, Wallace analyzes physical and discursive space, as well as labor, technology, and aesthetics, to understand the entwined development of the mass media and late capitalism.

THE GROUNDBREAKING NEW METHOD FOR RAISING VENTURE CAPITAL THROUGH SOCIAL NETWORKS “The declaration of independence for our industry!” —MAT DELLORSO, WealthForge Inc. “The Crowdfunding Revolution should be on the mandatory reading list for everybody active in the industry or for everyone who’s planning to be.” —CROWDFUND NEWS “Kevin Lawton and Dan Marom have done a great job. . . . A must-read for everybody entering the field of crowdfunding!”—GIJSBERT KOREN, Smarter Money “We recommend this book highly to anyone who is fascinated by this new methodology for funding projects and endeavors. . . . A wonderful read.” —BRIAN MEECE, RocketHub “Read this book if you want to catch the next wave!” —FRED BRYANT, WealthForge Inc. “A must-read for anyone interested in the early stage funding process.” —MANDAR KULKARNI, pluggd.in “The Crowdfunding Revolution offers fundraising inspiration for small business owners and aspiring entrepreneurs.” —BUSINESS2COMMUNITY “The Crowdfunding Revolution offers fundraising inspiration for small business owners and aspiring entrepreneurs.” —SMALL BUSINESS TRENDS YOUR POOL OF INVESTORS JUST INCREASED BY 2 BILLION . . . Since the day the first human being approached a prospective investor, the province of capital allocation has been controlled by a small and entrenched minority. All this has changed. Now, the power of the Internet—particularly social media—enables anyone to connect with more investors in less time than it used to take to connect with one. The investing pool is open, everyone is in—and The Crowdfunding Revolution shows how to get to the forefront of the new world of venture financing. This groundbreaking guide explains how the explosive growth of connectivity is obviating human-to-human networks and centralized planning of capital allocation—and describes how crowdfunding can be used to tap into a “collective intelligence” for far superior results. Providing a wealth of information that will make your crowdfunding efforts more efficient and productive, the book is organized into three thematic sections: THE ROAD HERE: A thorough overview of what crowdfunding is—and how and why this radical new approach is replacing traditional means of venture financing THE CROWDFUNDING CAMPAIGN: Proven methods for marketing to the crowd, setting clear objectives, building a crowdfunding team, and communicating in a way that inspires action THE ROAD AHEAD: The crowdfunding ecosystem, intellectual property issues, mining collective IQ, new investment models, and regulations More than 2 billion people globally are now active online—and that number is guaranteed to grow at an extraordinary rate. The Crowdfunding Revolution explains all the ins and outs of raising investment capital by using social media and new technologies to draw small sums of money from an almost countless number of sources. Organic. Transparent. Decentralized. This is crowdfunding. This is the future. Read The Crowdfunding Revolution and become the first expert in your crowd on this radical new approach poised to supplant age-old venture financing methods.

In Identity, Mediation, and the Cunning of Capital, Ani Maitra urgently calls for a reevaluation of identity politics as an aesthetic maneuver regulated by capitalism. A dominant critical trend in the humanities, Maitra argues, is to dismiss or embrace identity through the formal properties of a privileged aesthetic medium such as literature, cinema, or even the performative body. In contrast, he demonstrates that identity politics becomes unavoidably real and material only because the minoritized subject is split between multiple sites of mediation—visual, linguistic, and sonic—while remaining firmly tethered to capitalism’s hierarchical logic of value production. Only in the interstices of media can we track the aesthetic conversion of identitarian difference into value, marked by the inequities of race, class, gender, and sexuality. Maitra’s archive is transnational and multimodal. Moving from anticolonial polemics to psychoanalysis to diasporic experimental literature to postcolonial feminist and queer media, he lays bare the cunning by which capitalism produces and fragments identity through an intermedial “aesthetic dissonance” with the commodity form. Maitra’s novel contribution to theories of identity and to the concept of mediation will interest a wide range of scholars in media studies, critical race and postcolonial studies, and critical aesthetics.

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A critical cultural materialist introduction to the study of global entertainment media. In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies. Among other topics, Mirrlees examines: Paradigms of global entertainment media such as cultural imperialism and cultural globalization. The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media. The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow. The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions. The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media. The cross-cultural reception and effects of TV shows and films. The World Wide Web, digitization and convergence culture.

Media Industries: History, Theory and Method is among the first texts to explore the evolving field of media industry studies and offer an innovative blueprint for future study and analysis. capitalizes on the current social and cultural environment of unprecedented technical change, convergence, and globalization across a range of textual, institutional and theoretical perspectives brings together newly commissioned essays by leading scholars in film, media, communications and cultural studies includes case studies of film, television and digital media to vividly illustrate the dynamic transformations taking place across national, regional and international contexts

This is an innovative contribution to the study of popular culture, focusing on the youth cultures that revolve around dance clubs and raves.

Media are fundamental to our sense of living in a social world. Since the beginning of modernity, media have transformed the scale on which we act as social beings. And now in the era of digital media, media themselves are being transformed as platforms, content, and producers multiply. Yet the implications of social theory for understanding media and of media for rethinking social theory have been neglected; never before has it been more important to understand those implications. This book takes on this challenge. Drawing on Couldry's fifteen years of work on media and social theory, this book explores how questions of power and ritual, capital and social order, and the conduct of political struggle, professional competition, and everyday life, are all transformed by today's complex combinations of traditional and 'new' media. In the concluding chapters Couldry develops a framework for global comparative research into media and for thinking collectively about the ethics and justice of our lives with media. The result is a book that is both a major intervention in the field and required reading for all students of media and sociology.

Research consistently shows how through the years more of our time gets spent using media, how multitasking our media has become a regular feature of everyday life, and that consuming media for most people increasingly takes place alongside producing media. Media Life is a primer on how we may think of our lives as lived in rather than with media. The book uses the way media function today as a prism to understand key issues in contemporary society, where reality is open source, identities are - like websites - always under construction, and where private life is lived in public forever more. Ultimately, media are to us as water is to fish. The question is: how can we live a good life in media like fish in water? Media Life offers a compass for the way ahead.

This Companion provides an authoritative source for scholars and students of the nascent field of media geography. While it has deep roots in the wider discipline, the consolidation of media geography has started only in the past decade, with the creation of media geography’s first dedicated journal, Aether, as well as the publication of the sub-discipline’s first textbook. However, at present there is no other work which provides a comprehensive overview and grounding. By indicating the sub-discipline’s evolution and hinting at its future, this volume not only serves to encapsulate what geographers have learned about media but also will help to set the agenda for expanding this type of interdisciplinary exploration. The contributors-leading scholars in this field, including Stuart Aitken, Deborah Dixon, Derek McCormack, Barney Warf, and Matthew Zook-not only review the existing literature within the remit of their chapters, but also articulate arguments about where the future might take media geography scholarship. The volume is not simply a collection of individual offerings, but has afforded an opportunity to exchange ideas about media geography, with contributors making connections between chapters and developing common themes.