Cover

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pp. i-iii

Title Page, Copyright

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pp. iv-v

Contents

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pp. vi-ix

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Introduction

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pp. 1-14

Contemporary accounts of an emerging “Global Village” or “One World” system— whether in relation to economics, culture, communication, or language— may seem naïve descriptions of global integration. But discourses on globalization are perhaps

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1. Global Media and Culture

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pp. 15-29

Increasing global relations catalyze the question of culture: Are the basic conditions of culture changed, diminished, or supplemented as a result of intensified exchanges across national, ethnic, and territorial borders? What are the major discursive regimes...

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2. Burning Man at Google

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pp. 30-48

To anyone accustomed to visiting the main offices of industrial-era information technology powerhouses such as IBM or AT&T, a stop in the lobby of Building 43, Google’s Mountain View, California, headquarters, presents something of a shock. The cool blonde...

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3. Apocalypse by Subtraction

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pp. 49-71

The comics series Fables, written by Bill Willingham and published by the Vertigo imprint of DC Comics, concerns a community of refugees in New York that is composed of familiar characters from fairy tales and nursery rhymes. Beloved as well as infamous figures...

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4. These Great Urbanist Games

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pp. 72-85

Michel de Certeau, the French social theorist perhaps most attuned to the fraught nature of the relationship between designed spaces and everyday practices, took a moment in his landmark...

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5. Format Television andIsraeli Telediplomacy

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pp. 86-102

The formally dressed Ethiopian man stands at an outdoor podium. His audience, a large group of journalists and commentators from over ten countries across the African continent, has gathered at this Ugandan resort. Now they wait, fanning themselves against...

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6. Mediating “Neutrality”

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pp. 103-120

In a series of articles about recent telenovela production and thematic trends, Colombian media scholar Omar Rincón indicates that there is a new type of product on the market: the “neutral” telenovela.1 Produced in Mexico (via Televisa), and Miami and Colombia (via Telemundo) for the U.S. Spanishlanguage and global...

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7. Killing Me Softly

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pp. 121-137

Media flows between the two largest countries in the Americas, Brazil and the United States, intensified in the years following the First World War and continue today. From initial treatments of Brazilian culture as “exotic” or as a “third world” surface for aestheticization, North American filmmakers, video artists, and mass culture...

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8. The Man, the Corpse,and the Icon in

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pp. 138-161

An eyewitness reported that upon facing his executioner in the little schoolhouse in the Bolivian highlands, 39-year-old Ernesto “Che” Guevara said, “Shoot, coward. You’re only going to kill a man.”1 After he and his comrades were executed, Guevara’s...

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9. Saudades on the Amazon

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pp. 162-177

In 1942, with Carmen Miranda’s The Gang’s All Here in production and promising to be a big hit, Hollywood producers were eager to make more movies with Brazilian characters or settings. They were talking with Orson Welles about his never-completed film about a Rio carnival celebration and they decided to send Bob and

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10. States of Distraction

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pp. 178-188

In recent years, medium and large-scale video screens have proliferated in public contexts. Digital billboards, video displays mounted to the sides of busses, and myriad interior screens inhabit our landscape, resembling the ever-present media environment...

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11. Bio Art

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pp. 189-206

In 1998, I introduced the concept and the phrase “bio art,” originally in relation to my artwork “Time Capsule” (1997). This work approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs,...

Notes

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pp. 207-228

About the Contributors

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pp. 229-232

Index

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pp. 233-238