Cindy Cruz - The Im-mediacy of Media: Media Mediating Themselves

The im-mediacy of media?
Media mediating themselves
Unit 4
Chona Rita R. Cruz (Cindy) 86-16518
PhD Media Studies
Media 301: Media and Culture
Eulalio R. Guieb III, PhD

(Not) Made by the human
hand: media consciousness and
immediacy in the
cultural production of the real
Mattijs Van De Port (2011)

• This essay shows how sensations of im-mediacy
are sought and produced in a great number of
fantasy scripts: those that undo media-awareness
by concealing or denying the involvement of the
human hand, and those that reveal the mediation
process and the workings of the human hand in
it.
• It ponders “chagrin over mediation” and the
place of the medium in “the cultural production
of the really real” and the transcending of the
mediation process despite all awareness of the
media involved.

• “ACHEIROPOIETA, ‘not made by human hands’, refers
to a quality attributed to many sacred icons. And it is
exactly the absence of any human involvement in their
making that greatly enhances their power.” (Van De
Port, 2011, 74)
• “The ‘cultural production of the real’ is made up of the
rhetorical, performative, and aesthetic practices
through which people seek to upgrade the reality
calibre of the stories-they-live-by.” (Van De Port, 2011,
75)
• “The interrogation of the chagrin over mediation and
the accompanying dream that if only we could do
without media, an encounter with the real of our
imaginations would be possible.” (Van De Port, 2011,
75)

• “The moment we recognize the medium for what
it is, ‘[it] constructs a corresponding zone of
immediacy, of the unmediated and transparent,
which stands in contrast with the medium itself.’”
(Van De Port, 2011, 75)
• “History provides innumerable examples how
‘zones of immediacy’ came to be imagined as
repositories of a ‘really real’, of transcendental
truth and authenticity.” (Van De Port, 2011, 75)
• “Zones of immediacy – dream-destinations is to
stress their illusionary character. There is no such
thing as an unmediated knowing of reality.
Fantasy is always at work to sustain the subject-s
sense of reality.” (Van De Port, 2011, 75)

• “Two major modes of mediating immediacy:
‘naturalised’ and no longer experienced as a
medium, and the mediation process as
flauntingly revealed and highlighted for what it is,
whose ‘unmasking’ produces its own sensations
of immediacy.” (Van De Port, 2011, 76)
• “The understanding that the mirror shows ‘reality
as it is’ hinges in large part on the mirror’s un-media-
like qualities: the seeming capacity of a
looking-glass to bring us to ourselves without the
interference of a medium. The mirror image
qualifies as acheiropoita, and therefore speaks
the truth.” (Van De Port, 2011, 77)

• Other examples: novels, temples, mosques
• “As such, a realm of the sacred is achieved
without ever being aware of how the
particular architectural structuring of space
produces that effect.” (Van De Port, 2011, 78)
• “Willing suspension of disbelief on the part of
audiences is a pre-requisite for the magic of a
theatre production to occur.” (Van De Port,
2011, 78)

Three religious fantasy scripts
through which
the medium vanishes:

• Spontaneous icons: the world is scripted as an
agent that brings the believer’s convictions and
beliefs back to him, and denies the involvement
of “the human hand”. (Van De Port, 2011, 78-79)
Appearance of God in things, glossolalia
• The body – the denial that the body is a medium
seems to be grounded in sensations of pre-reflexive,
bodily awareness: the body “speaks” in
ways that the mind cannot grasp, and with an
immediacy that precedes all opinionating. (Van
De Port, 2011, 79) Stigmata, speaking in tongues,
bodily manifestations of Divine presence, physical
transformation of people possessed by spirits
(Van De Port, 2011, 79-80)

• The divine medium – attributes the medium itself
with sacred [or possessed] qualities. The medium
is an instance of divine [or evil] immanence. The
attribution of supernatural qualities to media is
greatly facilitated by the fact that in
contemporary media societies mediatic and
religious imaginaries are already inextricably
entangled. (Van De Port, 2011, 81)
• The erasure of the medium from consciousness
allows for the sensation that one’s religious
imaginations are immanent to the world, rather
than human fabrications. (Van De Port, 2011, 82)

The moments when
an awareness of the medium arises
– breakdown in media visibility

• The introduction of a new and superior medium,
which is often associated with immediacy and the
unmediated vis-a-vis the older technology and
the rise of awareness in its being a medium (CDs
vs. vinyl records, HDTVs vs. SD TVs) (Van De Port,
2011, 82-83)
• The breakdown of invisibility of the mediation
process also occurs when a medium is introduced
in an arena where it had hithertho not played a
significant role. (83) – Catholic websites
• The users’ lack of skills in operating the medium
(Van De Port, 2011, 83)
• The media being out-of-place in particular
settings (Van De Port, 2011, 83)

• From the denial to the involvement of the
medium
• Transparency vs. mystification
• The mirror vs. plexiglass
• Rather than to hide, deny or naturalise the
medium, the medium is here revealed for what it
is, in all of its human-made, technically-put-together
manner – calling attention to the
technology of the mediation process, and thus to
the inescapable human involvement in all forms
of mediation. (Van De Port, 2011, 84) – media
pilgrimages, “the making” photos

• Plexiglass aesthetics – the idea that fronts are all
about make-belief, and that one has to move to
the back-stage to encounter the real thing.
• This revelation only adds to the wonder.... (Van
De Port, 2011, 85) Revealing the medium is not to
opt for the real of mediation practices
(“mediation is all we have”) but to enhance the
mystery of the immediate, to produce a sense of
its superior power and truth. It promises
transparency of the mediation process yet only
moves the mystery of its workings to another
level. (Van De Port, 2011, 85)

The cultural production of the real,
the fantasies of immediacy
and real-life experiences

• The cultural production of the real is to ask how people
seek to uphold (or impose) the truth of their beliefs in
a situation, characterized by a plurality of truths and
beliefs; how they seek to maintain (or impose) the
incontestability of their certainties in a situation of
heterogeneity that thretens to degrade all certainties
to the status of mere “opinions”.
• The fantasies of immediacy that are centered around
the “vanished medium” produce sensations of the real
by fostering the notion that cultural meanings are
“immanent” to the world. These fantasy scripts enlist
“the world” (or the “natural” body) as an agent that
brings the believers convictions and beliefs back to
him. (Van De Port, 2011, 87)

• Real-life experiences shape notions as to what
is convincing and persuasive, which also
translates in the aesthetic preferences that
make up a style. But styles also direct and
orient the perception of real-life experiences,
and ultimately make these experiences. (Van
De Port, 2011, 88)

The anthropology of media
and the question of
ethnic and religious pluralism
Patrick Eisenlohr (2011)

• This essay examines and interrogates the ways in which
technological mediation contributes to the reshaping
and reworking of religious and ethnic discourse.
• It postulates and problematizes the disappearance of
the medium in mediation, and the various media that
constitute and serve to validate religious authenticity
in diaspora.
• “As uses of media technologies become imbedded in
different cultural and historical contexts, the promises
and dangers associated with them change, they
become subject to different ideas and expectations
with respect to their functioning.” (Eisenlohr, 2011, 53)
• “Media not only signify, but also generate and convey
experiences and sensations. Signification and sensation
are closely intertwined in uses of media, and it is
important to realise that both are constitutive of media
ideologies and theologies.” (Eisenlohr, 2011, 53)

• “New media can open up new spheres of public
participation and political mobilisation as they
create new kinds of media producers and
consumers. These are considered to have a
fundamentally democratising character in
transparency, access, and use.” (Eisenlohr, 2011,
42)
• “Media change what they mediate in a qualitative
sense, while at the same time disappearing in the
act of mediation.” (Eisenlohr, 2011, 42)
• “While new media may be viewed as simply more
efficient and faster channels of dissemination,
they become part of the cultural setting.”
(Eisenlohr, 2011, 42-43)

• “Media audiences are active producers of media messages
and their meanings, and can sometimes drastically
transform media texts and messages by relating them to
local entertainment genres and sociocultural values.”
(Eisenlohr, 2011, 43)
• “Media authenticates religious experience and authority.
The tensions between different forms of mediation in
contemporary religious practice, such as scripture vs. the
attractions of audiovisual media or electronic sound
reproduction.” (Eisenlohr, 2011, 43)
• “Media and uses of media have been credited with
extraordinary powers in not just shaping and mediating,
but even producing many of the social and political
processes, formations and institutions that anthropologists
are grappling with today.” (Eisenlohr, 2011, 44)

• “Media and media practices are widely held to
create or co-create new subjectivities and
identities, the nation, the public sphere,
globalization, the so-called ‘revival’ of religion,
as well as transnational connections and flows
of different kinds.’(Eisenlohr, 2011, 44)
• “Media takes on the power of religion to both
destroy and remake individual sensibilities and
create anew the grounds for communal
belonging.” (Eisenlohr, 2011, 44)

• “Media has the tendency to disappear in the act of
mediation.” (Eisenlohr, 2011, 44)
• “Media can only function as such if in the act of
conveying something they are also capable of drawing
attention away from their own materiality and
technicality in order to redirect attention to what is
being mediated.” (Eisenlohr, 2011, 44)
• “This capability of media to at least momentarily ‘stand
back’ and withdraw from perception seems to be the
very condition of their functioning, and is indeed
central to the definition of what constitutes a
medium.” (Eisenlohr, 2011, 44)

• “Aristotle’s transparent media: a medium of perception
that only becomes an object of perception itself if it
ceases to function in the expected way.” (blurring our
vision, disabling hearing). (Eisenlohr, 2011, 44)
• “As long as these media appear to be operating
properly, for their habitual users they recede in the
background, to the point of vanishing almost entirely in
the face of what they mediate. That is, in the successful
acts of mediation what is being mediated appears to
be fully and solely present, while the mediating
apparatus with the social relations and institutions it is
embedded in withdraws into absence.” (Eisenlohr,
2011, 44)

• “The withdrawing and disappearing medium paradoxically
accounts for the very creation and production of political
and cultural processes and institutions.” (Eisenlohr, 2011,
44)
• “Politics of immediation – a strategy of power and
authority. That is, a denial of mediation and the
accompanying illusion of pure immediate access to political
and spiritual sources, personalities, and centres mobilise a
capacity inherent in media for political effect. This illusion
of immediate and transparent access in turn accounts for
the power of media to bring about political mobilisation,
and to rally and shape ethnic and religious identities, while
at the same time denying and dissimulating its profoundly
political character.” (Eisenlohr, 2011, 45)
• “Followers of the most diverse religious traditions have
adopted the use of modern media technologies such as
audiovisual technologies and sound reproduction in their
religious practices.” (Eisenlohr, 2011, 45)

• “Contemporary media uses in the field of religion to
connect to processes of imagining national and
religious communities, and the dynamics of
transnationalism and globalisation, and have provided
important insights into how religious media become
part of public spheres in which they blend with the
realms of consumption, advertisement and
entertainment.” (Eisenlohr, 2011, 45)
• “Religion often provides resources for the moral
arrangements and underpinnings of ethnic pluralism,
which especially in the contemporary world is
inseparable from the circulation of various forms of
religious media.” (Eisenlohr, 2011, 45)

Religious Media
• Statues and Icons
• Bible, print media (magazines, newsletters,
comics)
• Religious radio programs
• Religious films, shows, animation
• TV masses, television evangelist shows
• Religious websites
• Catholic Confession App
http://www.littleiapps.com/confession/

• “Religious practitioners often recast older claims
for a more direct or ‘immediate’ access to
supernatural forces through their deployment of
contemporary media technologies, which may go
hand in hand with radicalisation or maximisation
of religious claims in social and political worlds.”
• “The sources of conflict in which religion and
religious difference plays a major role can thus at
least partly be located in the religious processes
of mediated interaction themselves, and they
appear to be integral to the reproduction and
transformation fo religious traditions.” (Eisenlohr,
2011, 46)

• “It did so by insinuating itself into the rhythms of
everyday life of its viewers, who came to include
the broadcasting schedule into their everyday
planning and routines, and turned viewing into a
regular social activity with its sidespins and local
metacommentary. “(Eisenlohr, 2011, 48)
• “Politics of diaspora are above all concerned with
authenticating certain cultural forms and
practices through minimising the temporal and
spatial remove that separates the disapora from a
place identified as the faraway ancestral
homeland.” (Eisenlohr, 2011, 48)

Implications in Philippine Cases
For “The Anthropology of Media” and “(Not)
Made By The Human Hand”
• Judiel Nieva: miracle or hoax?
• Iglesia ni Cristo Arena
• Philippine televangelists
• TV mass
• Reality TV: Pinoy Big Brother

Of ghosts and gangsters:
Capitalist cultural production and
the Hong Kong film industry
Sylvia J. Martin (2012)

• “Ghosts and gangsters are not merely popular
genres in the Hong Kong film industry; they are
also legitimate participants in the film production
process itself, influencing financial, creative, and
logistical resources and decisions – revealing the
diverse risks and cultural practices in film
production.” (Martin, 2012, 32)
• “Despite the rationalization of commercial
filmmaking, ‘enchantments’ in the form of
religion and feudalistic crime linger within
capitalist production.” (Martin, 2012, 32)

• “By situating media production processes in their
broader cultural context, we see how sociocultural
forces that are generally considered beyond the scope
of Western media industry or institutional studies play
several salient roles in the production process. These
underworlds constitute material forces that have
created conditions and contingencies in the filmmaking
process. (Martin, 2012, 33)
• In the Hong Kong industry, members from the two
underworlds also collaborate with and constrain film
personnel in the production process in ways not
addressed in a literature focused on conventional
political-economies and industry terms.

• The author examines practices within a particular
spaces (the industry as a space, the spaces as locations)
that are shaped by beliefs and forces of their occupants
and participants.
• Capital wealth is generated through an industry that
revolve around practices shaped by the two
underworlds (ghosts and gangsters) – practices that
benefit both.
• Hong Kong film production demonstrates how sacred
and feudalistic dynamics remain in the form of ghosts
and imperial-era fraternal and clan associations
disrupting the bureaucratic hierarchies and task
specializations that capitalist modernity initiated.
• Ghosts and gangsters both collaborate with and
constrain participants in the production of films.

Ghosts
• Morally ambiguous forces that may interfere with
film production
• Are the unsettled spirits of generally disreputable
individuals who met unsavory deaths or are
people who died far from home.
• Linger near businesses where socially ambiguous
behaviors are enacted (bars, massage parlors,
performance sites)
• Appeasement rituals, amusement for the ghosts
• Inclusion in film budget

Ghosts
• Ghosts constrain film personnel in multiple ways, and
avoidance and appeasement tactics are incorporated
into film production processes as rituals including
burning incense and paper money. (Martin, 2012, 38)
• Local folk beliefs about social spaces such as
cemeteries intersect with the risks of a production
process that frequently continues around the clock.
(Martin, 2012, 38)
• Accountability is another feature of cultural production
with which film personnel must contend. (Martin,
2012, 39)

Gangsters
• Morally ambiguous characters that may
interfere with film production
• Control many of the bars, discos, drug
dealerships, and prostitution rings
• Palpable socioeconomic force
• Inclusion in film budget

Gangsters
• The immediate public space in which filming
occurs – and its inseparability from the social
landscape of the territory – largely determines
the terms of filming. (Martin, 2012, 41)
• The film industry as a laundering site for
“black money” (Martin, 2012, 42)
• The gangster as boon and bane of the film
industry (Martin, 2012, 42)
• Gangsterism vs. unionism (Martin, 2012, 43)

Reciprocity and Self-Censorship
• In a reciprocal manner, gangsters propitiate ghosts and
ghosts protect gangsters, and this interconnectivity
comes to be expressed within the workings of the film
industry as the two underworlds reinforce one another.
(Martin, 2012, 43)
• Gangster can expect to receive the protection of ghosts
because they are amoral (unlike Gods) and desperate
for worship. (Martin, 2012, 43)
• Since many of the ghosts were themselves involved in
illicit dealings in their earthly lifetimes, they are
considered particularly receptive to the please of
gangsters.

• Both are attracted to the “slanted door” business
and enjoy popular entertainment.
• Ghosts and gangsters remind us that production
is full of pitfalls and the laboring body can be
possessed in unexpected ways. (Martin, 2012, 44)
• Censorship is another area in which entities from
supernatural and illegal activity intersect with
film production. (Martin, 2012, 44) – negotiation
of censorship, two endings for a movie

Ghosts and gangsters in film
and their broader significance:
• “It is to interrogate the production in
imaginative and material practice, of those
compound political, economic and cultural
forms... By means of which space and time are
made and remade, and the boundaries of the
local and the global are actualized.” (Martin,
2012, 45)

• Film after all is a construct that manipulates the
coordinates of time and space, and ghosts and
gangsters have endured through the colonial and
postcolonial eras; indeed they both emerge from an
earlier past – ghosts haunt us from a prior time and
gangs are remnants of a feudal era. They haunt
contemporary capitalist production. Thus we witness
another iteration of capitalism – enchantments at work
to procure profit and propitiation.
• Commercial film production constitutes a violent
buisness that entangles the living and the dead, the
legal and the illegal.

Networks of terror:
Theoretical assumptions and
pragmatic consequences
Cynthia Stohl and Michael Stohl (2007)

• The identification of the critical disjunctures
between the assumptions of contemporary
communication network theory and the
assumptions and appropriation of network
concepts by the current (2007) US
Administration in discussion of terrorism
networks. (Stohl and Stohl, 2007, 93)
• Analysis of the US administration’s
conceptions of terror networks, its
shortcomings and failings

• “The war metaphor is a counterproductive rhetorical and
tactical strategy... [that has] undermined the ability of the
United States to manage the problem of terrorism.” (Stohl
and Stohl, 2007, 93) The long term problem is as much
diplomatic, as much as economic – in fact, more
diplomatic, more economic, more political, than it is
military.” (Schmitt and Shanker, 2005, in Stohl and Stohl,
2007, 93)
• “We identify critical disjunctures between what
communication scholars know about organizational
network dynamics and the appropriation of network
concepts by the US Administration to devise strategies and
tactics for addressing terrorism. (Stohl and Stohl, 2007, 94)
• “We suggest that a policy approach consistent with
theoretical network assumptions creates the conditions for
redefining the scale of the problem [to enable]... small
wins: a concrete, complete, implemented outcome of
moderate importance.” (Stohl and Stohl, 2007, 94)

Two Central Problems in
the use of the term terror network
• Public policy makers viewed terrorist networks as
hierarchically organized and centralized
bureaucracies. (Stohl and Stohl, 2007, 95)
• The clandestine nature of terrorist networks
enabled political opportunism to compromise the
reliability and validity of boundary specifications,
reports of linkages, and subsequent conclusions.
(Stohl and Stohl, 2007, 95)

The New Network Paradigm:
Five interrelated reasons that have radically changed the
assumptions of and possibilities for network theory
and analysis and have important implications for the
understanding of terrorist networks:
1. “Networks as the quintessential organizational form of
the postindustrial information society – require
organizational responsiveness, adaptation and
efficiency in communication systems that are not found
in traditional hierarchical organizations but are made
possible in global network forms... With complex
network dynamics that integrate multiple relations and
contexts.” (Stohl and Stohl, 2007, 96)

2. “[The] move from static positions to the emergence
and evolution of networks... [enabled] network
analyses [to] no longer assume that roles are fixed
structures that people already occupy in an already
overdetermined network structure.” (Stohl and Stohl,
2007, 97) “A prescribed organizational network
provides pegs from which emergent networks hang.”
(Stohl and Stohl, 2007, 97)
3. “Multiple type of linkages within a social system... go
beyond information sharing. Communication and
information sharing are no longer treated as equivalent
processes. Actor-actor, actor-attribute, and actor-event
networks are built upon cognitive, semantic, cultural,
behavioral and attitudinal linkages, each of which
provides unique contributions to the network. (Stohl
and Stohl, 2007, 97-98)

4. “A new science of networks... within the
biological and phsical sciences.... Researchers
uncovered an underlying mathematical dynamic
of interconnectedness, a common architecture of
shared deep structural properties that strongly
influence who we are, how we think, how we
make sense of the world, how we interpret
messages, and how we organize.” (Stohl and
Stohl, 2007, 98)
5. “Small-world architecture” (Kevin Bacon and the
six degrees of separation) (Stohl and Stohl, 2007,
98, 119)

Operational Assumptions
Regarding Networks

Assumptions of US Administration
• Networks are information
system (sic)
– Traditional mechanistic view
of organizations
– Concept of “one mastermind”
– Solution: elimination of
specific information links and
the consequent interruption
of information transmission
(100)
Assumptions of Network Theory
• Networks are multifunctional
communication systems.
– Latent relationships, closing of
social distances, building of
social capital
– Not only sites of information
transmission but also sites of
sense-making and socialization
that reinforce ways of seeing
the world and provide sources
of role models and inspiration
– Socialization mechanisms for
emotional support, reinforcing
ideological frameworks,
generating trust, granting
legitimacy for action (99)
– Solidarity, sympathy for a
particular cause (100)
– Sustained ability to mobilize
and animate (101)

• Network links embody uniplex
ahistoric relations.
– Links are uniplex and
considered only as conduits for
information transfer.
– Typically addresses how to
destroy a network through the
elimination of specific links that
can be found in particular
locations rather than by
addressing the underlying
sociocultural dynamics of
network emergence. (102)
– Results in policies that not only
are short sighted and
ineffective but also ironically
create the very conditions that
are associated with the
generation and maintenance of
terror networks. (103)
• Network links embody
multiplex historically
constructed relations
operating at multiple levels.
– Contrary to public opinion,
terrorists are not recruited...
[but] instead typically first
meet through social circles –
friendship or kinship.
– Often, the importance of links
is not the information they
broker but rather in the social
history they embody. (101)
– The most efficient and least
costly way of mobilizing people
is to transform the functionality
of preexisting communicative
infrastructures. (101)

• Networks are hierarchically
organized, top-down
command and control
structures.
– Network identity roles are
fixed and constant
– Networks operate according
to formal and unambiguous
rules
– These rules constrain how
members of the network act,
defining and limiting what is
acceptable and unacceptable
action. (105)
• Networks are temporary, dynamic,
emergent, adaptive, flexible
structures.
– A hierarchical mode of thinking
tends to ignore the potential and
real influence of formal and
informal ties among actors that cut
across social categories and group
boundaries. It ignores other forms
of informal everyday social relations
that affect actors’ identities,
attitudes and behaviors. (105)
– Terrorists may perform operations
spontaneously, and independently
even as they identify with, but are
not part of, the organization. (105)
– Network organizations are created
out of complex webs of exchange
and dependency relations among
multiple organizations. (106)

• Network boundary
specification is a political
tool.
– Shows little concern for the
problem of specifying the
inclusion rules in defining the
membership of actors in
particular networks and in
identifying the types of social
relationships to be analyzed.
(107)
– Often appears based on
political rather than analytic
concerns. (108)
• Network boundary
specification is an analytic
tool.
– Boundary specification is important
because it allows us to distinguish
between an organization and a
movement of which it may be part.
We must be able to recognize that
individuals may be in contact but not
comprise an operational network and
that different organizations may
share some particular bits of useful
information – arms, arms merchants,
travel documents, transit routes, and
so on- but are not therefore one and
the same. (110)
– Need to be able to distinguish
between the ability “to network) and
the ability to mobilize, control, and
coordinate members for specific
planned acts.
– Connections do not equal
coordination, temporary exchange
relationships do not equal control,
and identification of an agreed
enemy does not equal the
emergence of an organization. (110)

• Networks are globalized and
homophilous.
– Relational homophily – family,
friends, and identity
– The GW Bush
Administration’s “terror
network” does not distinguish
among groups. It is globalized
and nonspecific.
– “They hate our freedoms.”
– Every time there is a terrorist
event anywhere in the world,
a victory is handed to Osama
bin Laden. (113-114)
• Networks may be local, global,
or global and heterogenous.
– Finer distinctions
– Coercive bargaining paradigm –
they have not sought to
destroy their adversaries but to
inflict enough damage to force
them to bargain and grant
concessions. (111)
– War-inducing paradigm –
allows and justifies the
targetting and killing of large
numbers... in which there is o
clear bargaining point. (111)
– Ethnically based terrorist
organizations, multiethnic
terrorist groups
– May be built upon relational
homophily or homophily of a
particular value and like-mindedness

Mediation as Flauntingly Revealed

The Cast of “The Walking Dead”

In between fight scenes:
Harry Potter and the Deathly Hallows

The Lannister Siblings, Arya and the Hound

Videos
The body and possession:
• short scene from "The Conjuring“: http://www.youtube.com/watch?v=6hCLWs7obwk
Calling attention to media and the mediation process, as in a media pilgrimage:
• Sex and the City" Tour http://www.youtube.com/watch?v=AyJst8imx1s
The divine medium
• The TV and Sadako in "The Ring“ http://www.youtube.com/watch?v=AJn5Y65GAkA
• The video contents in "The Ring“ http://www.youtube.com/watch?v=qkVlC2WgEwc
“Mediation as flauntingly revealed“
• Lily Allen's "Somewhere Only We Know“ http://www.youtube.com/watch?v=mer6X7nOY_o
The disappearance of the medium / the medium as out of place-
• Priest Movie trailer (the scene from the movie is timestamped 7:23)
http://www.youtube.com/watch?v=stAfEDSosXc
Breakdown in media visibility with the introduction of a new and superior medium AND the vanishing
medium
• Black Mirror: Episode “Be Right Back” https://www.youtube.com/watch?v=ld9m8Xrpko0
• Black Mirror: Episode “The Entire History of You” (scene)
https://www.youtube.com/watch?v=jkSkfYX6kzc
• “The Change in My Life” from “Leap of Faith” https://www.youtube.com/watch?v=Z_lVfBwmNjM
• Samsung Curved TV http://www.youtube.com/watch?v=sK7xNsHDVpk

Bibliography
• Eisenlohr, P. (2011). The anthropology of media and the question of
ethnic and religious pluralism. Social Anthropology 19(1), 40-55.
• Martin, S.J. (2012). Of ghosts and gangsters: Capitalist cultural
production and the Hong Kong film industry. Visual Anthropology
Review, 28(1), 32-49.
• Stohl, C. & Stohl, M. (2007). Networks of terror: theoretical
assumptions and pragmatic consequences. Communication Theory
17, 93-124.
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