By Jonathan Gray
While the belief of authorship has transcended the literary to play a significant position within the cultures of movie, tv, video games, comics, and different rising electronic kinds, our figuring out of it's nonetheless too usually restricted to assumptions approximately solitary geniuses and person artistic expression. A significant other to Media Authorship is a ground-breaking assortment that re-frames media authorship as a question of tradition within which authorship is as a lot a development tied to authority and tool because it is a optimistic and artistic strength of its own.
Gathering jointly the insights of prime media students and practitioners, 28 unique chapters map the sphere of authorship in a state-of-the-art, multi-perspectival, and really authoritative demeanour. The individuals improve new and leading edge methods of brooding about the practices, attributions, and meanings of authorship. They situate and think about authorship inside of collaborative types of commercial construction, socially networked media systems, globally various traditions of creativity, complicated intake practices, and a number of institutional and social contexts. jointly, the essays give you the definitive examine at the topic by way of demonstrating that authorship is a box during which media tradition may be reworked revitalized, and reimagined.
Chapter 1 creation (pages 1–19): Derek Johnson and Jonathan Gray
Chapter 2 Authorship and the Narrative of the Self (pages 21–47): John Hartley
Chapter three The go back of the writer (pages 48–68): Kristina Busse
Chapter four Making song (pages 69–87): Olufunmilayo B. Arewa
Chapter five whilst is the writer? (pages 88–111): Jonathan Gray
Chapter 6 Hidden arms at paintings (pages 112–132): Colin Burnett
Chapter 7 Participation is Magic (pages 133–157): Derek Johnson
Chapter eight Telling Whose tales? (pages 158–180): Brian Ekdale
Chapter nine by no means finishing tale (pages 181–199): Michele Hilmes
Chapter 10 From Chris Chibnall to Fox (pages 200–220): Matt Hills
Chapter eleven Comics, Creators, and Copyright (pages 221–236): Ian Gordon
Chapter 12 “Benny Hill Theatre” (pages 237–256): Anamik Saha
Chapter thirteen Cynical Authorship and the Hong Kong Studio method (pages 257–274): Stephen Teo
Chapter 14 The Authorial functionality of the tv Channel (pages 275–295): Catherine Johnson
Chapter 15 The Mouse residence of playing cards (pages 296–313): Lindsay Hogan
Chapter sixteen Transmedia Architectures of production (pages 314–323): Jonathan Gray
Chapter 17 Dubbing the Noise (pages 324–345): Mia Consalvo
Chapter 18 Authorship Below?the?Line (pages 347–369): John T. Caldwell
Chapter 19 construction layout and the Invisible Arts of Seeing (pages 370–390): David Brisbin
Chapter 20 Scoring Authorship (pages 391–402): Derek Johnson
Chapter 21 #Bowdown for your New God (pages 403–425): Louisa Ellen Stein
Chapter 22 Collaboration and Co?Creation in Networked Environments (pages 426–439): Megan Sapnar Ankerson
Chapter 23 sunrise of the Undead writer (pages 440–462): Suzanne Scott
Chapter 24 Authoring Hype in Bollywood (pages 463–484): Aswin Punathambekar
Chapter 25 Auteurs on the Video shop (pages 485–505): Daniel Herbert
Chapter 26 Authorship and the country (pages 506–524): Hector Amaya
Chapter 27 Scripting Kinshasa's Teleserials (pages 525–543): Katrien Pype
Chapter 28 “We by no means Do something by myself” (pages 544–550): Jonathan grey and Derek Johnson
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Additional resources for A Companion to Media Authorship
However, publishers were quicker off the mark. , one W. Shakespeare of Warwickshire23 ) rapidly extended. It entailed the right to put up ‘‘KEEP OUT’’ notices over land previously held and worked in common. 24 Enclosure was an important catalyst of the modern industrial workforce, separating work from land and creating a pool of available labor. In the same way, and at the same time, ‘‘intellectual property’’ began to take shape, conferring the right to privatize creations of the mind, and to exclude others from the use of that property.
Where, here, is the scarcity value on which price must be based? Where does this leave the investment of publishers? What happens to copyright? How is it possible to retain professional status for authors? These are economic questions, and the turbulence of the publishing industry tells us that answers are still at the experimental stage. ’’ Many of these utterances are published within the confines of social networks, whether small-world groups like family-and-friends, or giantscale operations like Facebook, YouTube, or Twitter, which themselves are not authored by any single individual, but nonetheless share creative agency with their users.
Was William Herbert, Third Earl of Pembroke, a poet himself, who went on to sponsor the publication of the First Folio of Shakespeare’s works in 1623; or alternatively the handsome Henry Wriothesley, Third Earl of Southampton, to whom both Venus and Adonis and The Rape of Lucrece were dedicated, the latter fulsomely. In all of this, Shakespeare’s mode of authorship is aristocratic, amateur, and part of the web of courtly patronage that sustained great families. As an author, he remained carelessly medieval, content for the most part with what Richard Lanham would call, for a later age, ‘‘the economy of attention’’14 – an economy in which literary fame and reputation are valued, but not directly convertible to cash.