Pink 2.0 :: encoding queer cinema on the internet /
In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Pink 2.0 examines the mechanisms through which the internet and associated technologies both...
Gespeichert in:
1. Verfasser: | |
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Format: | Elektronisch E-Book |
Sprache: | English |
Veröffentlicht: |
Bloomington :
Indiana University Press,
[2016]
|
Schlagworte: | |
Online-Zugang: | Volltext |
Zusammenfassung: | In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Pink 2.0 examines the mechanisms through which the internet and associated technologies both produce and limit the intelligibility of contemporary queer cinema. Challenging conventional conceptions of the internet as an exceptionally queer medium, Noah A. Tsika explores the constraints that publishers, advertisers, and content farms place on queer cinema as a category of production, distribution, and reception. He shows how the commercial internet is increasingly characterized by the algorithmic reduction of diverse queer films to the dimensions of a highly valued white, middle-class gay masculinity'a phenomenon that he terms "Pink 2.0." Excavating a rich set of online materials through the practice of media archaeology, he demonstrates how the internet's early and intense associations with gay male consumers (and vice versa) have not only survived the medium's dramatic global expansion but have also shaped a series of strategies for producing and consuming queer cinema. Identifying alternatives to such corporate and technological constraints, Tsika uncovers the vibrant lives of queer cinema in the complex, contentious, and libidinous pockets of the internet where resistant forms of queer fandom thrive. |
Beschreibung: | 1 online resource |
Bibliographie: | Includes bibliographical references and index. |
ISBN: | 9780253023230 0253023238 |
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100 | 1 | |a Tsika, Noah, |d 1983- |e author. |0 http://id.loc.gov/authorities/names/no2010122205 | |
245 | 1 | 0 | |a Pink 2.0 : |b encoding queer cinema on the internet / |c Noah A. Tsika. |
246 | 3 | |a Pink two point zero | |
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505 | 0 | |a A note on scope and terminology -- Introduction: questioning the "queer internet" -- Digitizing gay fandom: corporate encounters with queer cinema on the internet -- Epistemology of the blogosphere: queer cinema on gay porn sites -- Franco, Ginsberg, Kerouac & Co.: constructing a Beat topos with digital networked technologies -- Liberating gayness: selling the sexual candor of I love you Phillip Morris -- "Nollywood goes homo": gay identifications on the Nigerian internet -- Conclusion: Antiviral. | |
588 | |a Description based on print version record and CIP data provided by publisher. | ||
520 | |a In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Pink 2.0 examines the mechanisms through which the internet and associated technologies both produce and limit the intelligibility of contemporary queer cinema. Challenging conventional conceptions of the internet as an exceptionally queer medium, Noah A. Tsika explores the constraints that publishers, advertisers, and content farms place on queer cinema as a category of production, distribution, and reception. He shows how the commercial internet is increasingly characterized by the algorithmic reduction of diverse queer films to the dimensions of a highly valued white, middle-class gay masculinity'a phenomenon that he terms "Pink 2.0." Excavating a rich set of online materials through the practice of media archaeology, he demonstrates how the internet's early and intense associations with gay male consumers (and vice versa) have not only survived the medium's dramatic global expansion but have also shaped a series of strategies for producing and consuming queer cinema. Identifying alternatives to such corporate and technological constraints, Tsika uncovers the vibrant lives of queer cinema in the complex, contentious, and libidinous pockets of the internet where resistant forms of queer fandom thrive. | ||
650 | 0 | |a Homosexuality in motion pictures. |0 http://id.loc.gov/authorities/subjects/sh85061793 | |
650 | 0 | |a Gay people in motion pictures. | |
650 | 0 | |a Mass media |x Technological innovations. | |
650 | 6 | |a Homosexualité au cinéma. | |
650 | 6 | |a Personnes homosexuelles au cinéma. | |
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650 | 7 | |a Homosexuality in motion pictures |2 fast | |
650 | 7 | |a Mass media |x Technological innovations |2 fast | |
776 | 0 | 8 | |i Print version: |a Tsika, Noah, 1983- author. |t Pink 2.0 |d Bloomington : Indiana University Press, [2016] |z 9780253022752 |w (DLC) 2016022246 |
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adam_text | |
any_adam_object | |
author | Tsika, Noah, 1983- |
author_GND | http://id.loc.gov/authorities/names/no2010122205 |
author_facet | Tsika, Noah, 1983- |
author_role | aut |
author_sort | Tsika, Noah, 1983- |
author_variant | n t nt |
building | Verbundindex |
bvnumber | localFWS |
callnumber-first | P - Language and Literature |
callnumber-label | PN1995 |
callnumber-raw | PN1995.9.H55 |
callnumber-search | PN1995.9.H55 |
callnumber-sort | PN 41995.9 H55 |
callnumber-subject | PN - General Literature |
collection | ZDB-4-EBA |
contents | A note on scope and terminology -- Introduction: questioning the "queer internet" -- Digitizing gay fandom: corporate encounters with queer cinema on the internet -- Epistemology of the blogosphere: queer cinema on gay porn sites -- Franco, Ginsberg, Kerouac & Co.: constructing a Beat topos with digital networked technologies -- Liberating gayness: selling the sexual candor of I love you Phillip Morris -- "Nollywood goes homo": gay identifications on the Nigerian internet -- Conclusion: Antiviral. |
ctrlnum | (OCoLC)954204003 |
dewey-full | 791.43/653 |
dewey-hundreds | 700 - The arts |
dewey-ones | 791 - Public performances |
dewey-raw | 791.43/653 |
dewey-search | 791.43/653 |
dewey-sort | 3791.43 3653 |
dewey-tens | 790 - Recreational and performing arts |
discipline | Allgemeines |
format | Electronic eBook |
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spelling | Tsika, Noah, 1983- author. http://id.loc.gov/authorities/names/no2010122205 Pink 2.0 : encoding queer cinema on the internet / Noah A. Tsika. Pink two point zero Pink two point oh Bloomington : Indiana University Press, [2016] 1 online resource text txt rdacontent computer n rdamedia online resource nc rdacarrier Includes bibliographical references and index. A note on scope and terminology -- Introduction: questioning the "queer internet" -- Digitizing gay fandom: corporate encounters with queer cinema on the internet -- Epistemology of the blogosphere: queer cinema on gay porn sites -- Franco, Ginsberg, Kerouac & Co.: constructing a Beat topos with digital networked technologies -- Liberating gayness: selling the sexual candor of I love you Phillip Morris -- "Nollywood goes homo": gay identifications on the Nigerian internet -- Conclusion: Antiviral. Description based on print version record and CIP data provided by publisher. In an era where digital media converges with new technologies that allow for cropping, remixing, extracting, and pirating, a second life for traditional media appears via the internet and emerging platforms. Pink 2.0 examines the mechanisms through which the internet and associated technologies both produce and limit the intelligibility of contemporary queer cinema. Challenging conventional conceptions of the internet as an exceptionally queer medium, Noah A. Tsika explores the constraints that publishers, advertisers, and content farms place on queer cinema as a category of production, distribution, and reception. He shows how the commercial internet is increasingly characterized by the algorithmic reduction of diverse queer films to the dimensions of a highly valued white, middle-class gay masculinity'a phenomenon that he terms "Pink 2.0." Excavating a rich set of online materials through the practice of media archaeology, he demonstrates how the internet's early and intense associations with gay male consumers (and vice versa) have not only survived the medium's dramatic global expansion but have also shaped a series of strategies for producing and consuming queer cinema. Identifying alternatives to such corporate and technological constraints, Tsika uncovers the vibrant lives of queer cinema in the complex, contentious, and libidinous pockets of the internet where resistant forms of queer fandom thrive. Homosexuality in motion pictures. http://id.loc.gov/authorities/subjects/sh85061793 Gay people in motion pictures. Mass media Technological innovations. Homosexualité au cinéma. Personnes homosexuelles au cinéma. Médias Innovations. PERFORMING ARTS Reference. bisacsh SOCIAL SCIENCE Gay Studies. bisacsh Gays in motion pictures fast Homosexuality in motion pictures fast Mass media Technological innovations fast Print version: Tsika, Noah, 1983- author. Pink 2.0 Bloomington : Indiana University Press, [2016] 9780253022752 (DLC) 2016022246 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1420794 Volltext |
spellingShingle | Tsika, Noah, 1983- Pink 2.0 : encoding queer cinema on the internet / A note on scope and terminology -- Introduction: questioning the "queer internet" -- Digitizing gay fandom: corporate encounters with queer cinema on the internet -- Epistemology of the blogosphere: queer cinema on gay porn sites -- Franco, Ginsberg, Kerouac & Co.: constructing a Beat topos with digital networked technologies -- Liberating gayness: selling the sexual candor of I love you Phillip Morris -- "Nollywood goes homo": gay identifications on the Nigerian internet -- Conclusion: Antiviral. Homosexuality in motion pictures. http://id.loc.gov/authorities/subjects/sh85061793 Gay people in motion pictures. Mass media Technological innovations. Homosexualité au cinéma. Personnes homosexuelles au cinéma. Médias Innovations. PERFORMING ARTS Reference. bisacsh SOCIAL SCIENCE Gay Studies. bisacsh Gays in motion pictures fast Homosexuality in motion pictures fast Mass media Technological innovations fast |
subject_GND | http://id.loc.gov/authorities/subjects/sh85061793 |
title | Pink 2.0 : encoding queer cinema on the internet / |
title_alt | Pink two point zero Pink two point oh |
title_auth | Pink 2.0 : encoding queer cinema on the internet / |
title_exact_search | Pink 2.0 : encoding queer cinema on the internet / |
title_full | Pink 2.0 : encoding queer cinema on the internet / Noah A. Tsika. |
title_fullStr | Pink 2.0 : encoding queer cinema on the internet / Noah A. Tsika. |
title_full_unstemmed | Pink 2.0 : encoding queer cinema on the internet / Noah A. Tsika. |
title_short | Pink 2.0 : |
title_sort | pink 2 0 encoding queer cinema on the internet |
title_sub | encoding queer cinema on the internet / |
topic | Homosexuality in motion pictures. http://id.loc.gov/authorities/subjects/sh85061793 Gay people in motion pictures. Mass media Technological innovations. Homosexualité au cinéma. Personnes homosexuelles au cinéma. Médias Innovations. PERFORMING ARTS Reference. bisacsh SOCIAL SCIENCE Gay Studies. bisacsh Gays in motion pictures fast Homosexuality in motion pictures fast Mass media Technological innovations fast |
topic_facet | Homosexuality in motion pictures. Gay people in motion pictures. Mass media Technological innovations. Homosexualité au cinéma. Personnes homosexuelles au cinéma. Médias Innovations. PERFORMING ARTS Reference. SOCIAL SCIENCE Gay Studies. Gays in motion pictures Homosexuality in motion pictures Mass media Technological innovations |
url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1420794 |
work_keys_str_mv | AT tsikanoah pink20encodingqueercinemaontheinternet AT tsikanoah pinktwopointzero AT tsikanoah pinktwopointoh |