Download PDF by Chris Atton: Alternative Media (Culture, Representation and Identity)

By Chris Atton

ISBN-10: 0761967710

ISBN-13: 9780761967712

During this publication, Chris Atton deals a clean advent to substitute media: one that isn't restricted to `radical' media, yet may also account for more moderen cultural kinds corresponding to zines, fanzines, and private web pages. replacement Media: Examines how and why humans produce and use replacement media - to make which means, to interpret, and to alter the realm during which they reside includes a wide variety of different media and attracts on examples from either the U.S. and uk Locates modern replacement media of their cultural, historic and political contexts  

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Additional resources for Alternative Media (Culture, Representation and Identity)

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The inclusion of more 'intellectual' writers might lead the 'floating' reader to suppose that these writers support Green Anarchist's editorial viewpoint, leading such a reader to approach the rest of the publication with more interest than they might otherwise do. Squall, on the other hand, rather than reprinting the anti-copyright work of others, assigned an 'open copyright' status to its own articles that allowed copies to made for non-profit-making purposes. This waiving of copyright is an extension of the concept of 'fair dealing' in copyright law or of the licence given to educational institutions for the production of multiple copies.

Dahlgren (1997) has observed that the focus of media research continues to move away from the 'classic steps of the communication chain', that is: (1) the sender and the circumstances of production; (2) the form and content of the message; (3) the processes and impact of reception and consumption. This is in significant part due to the 'awkward fit' of such steps with questions surrounding the production of meaning by media audiences. A model of alternative and radical media must account not THE 0 RY AND MET HOD 0 LOG Y 25 only for active audiences in the Fiskean sense of creating 'oppositional readings' of mainstream media products (Fiske, 1992a) but also for 'mobilized audiences' - as well as notions of horizontal linkage, readerwriters and extremely democratic organizational structures.

In the 1990s, these were most conspicuous in the use of reprographic technologies and distribution channels. 38 A LT ERN A T I V E M ED I A Reprographic Technologies 'Offset was exciting. Offset was freedom ... the copy could be pasted on to the boards and, with no need for hot metal, or skilled printers, was camera-ready' (Fountain, 1988: 24). What offset litho was to the publishers of Oz and IT, the photocopier was to the punk movement of the late 1970s. Despite the fact that the alternative publisher was still dependent on the printer, the offset process meant that, in Fountain's words, 'around five stages on conventional newspapers were leapfrogged' (p.

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Alternative Media (Culture, Representation and Identity) by Chris Atton


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