By Jonathan Gray, Derek Johnson

A better half to Media Authorship bargains 28 groundbreaking chapters which examine the practices, attributions, and meanings of authorship. Revitalizing the learn inside of media and cultural reviews, this varied and international assortment presents the definitive paintings at the subject.

Rethinks cultures of authorship and demanding situations the concept that of auteurism throughout a number of media forms

Moves past notions of the person to target how authorship is collaborative, contested, and networked, reading cultures of authorship and the practicalities of ways it works

Draws at the state-of-the-art examine of students and practitioners whose paintings has produced major new insights into the field

Examines quite a lot of media, together with tv, social media, radio, videogames, transmedia, song, and comedian books

Offers a magnificent international concentration, together with items on Mexican track, novice movie creation in Nairobi slums, tele-serial creation in Kinshasa, Hong Kong movie, and the selling of Bollywood

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53 We’ll never know. The scandal isn’t ignored, however: a very particular and corporately authored meaning is constructed across the different elements of Vogue – the cover, editor’s letter, feature story, Authorship and the Narrative of the Self 35 and fashion-shoot. Kate’s wedding dress emerges as the agent of redemption for Galliano. 54 In the accompanying feature, by Hamish Bowles, we learn: In the flurry of pre-wedding madness and nerves, the one thing that is keeping Kate sane is the dress.

1380): ‘‘If holy writ be false, truly God author thereof is false’’8 ‘‘The author’’ is thus a figure of great antiquity, linking mortal people to the divine attribute of immortality and the ability of nature to create anew. It was the personification of singular origin: the beginning or first cause of everything that was made; and of nature itself with its own life-giving or generative properties of germination, growth, and increase. This mystique still resonates in the ideas that authorship immortalizes a writer and that authors have the power to immortalize the characters they create, whether our hero/ine is factual or fictional.

The real Anna Wintour is known to exercise tight control over photographs published in Vogue,39 especially the cover photo, a genre that she had reinvented with her debut issue: In her first year at Vogue, Wintour gave the magazine a facelift. In contrast to the bland headshots of mostly blond models favored by [outgoing editor Grace] Mirabella [ . . 40 In short, Wintour has a ‘‘signature’’ style and the magazine’s covers are recognizably hers, including the September 2011 one to hand, which conforms exactly to the specifications quoted above.

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