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Katie King's Networked Reenactments accomplishes both things. It is, in significant ways, a very tough act to follow. Fuqua, Women's Studies Quarterly.


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Gillespie, Journal of American Culture. King bases her argument on factually dense case studies organized in loose chronological order… [T]he organization works well to support historical analysis of a specific period… it is rewarding because her analysis is so trenchant. Networked Reenactments leaves the reader with a heightened sense of the possibilities, as well as the limits and dangers, of contemporary knowledge production, of the ways that we collectively make meanings and understand the heritage of the past in the present.

Bk Cover Image Full. Sign In. Search Cart. Search for:. Book Pages: Illustrations: 19 illustrations Published: January Against a backdrop of competing national priorities, changing technologies, globalization, and academic capitalism, these industries have sought to reach increasingly differentiated local audiences, even as distributed production practices have made the lack of authorial control increasingly obvious.

Networked Reenactments

As Katie King describes in Networked Reenactments , science-styled television—such as the Secrets of Lost Empires series shown on the PBS program Nova —demonstrates how new technical and collaborative skills are honed by television producers, curators, hobbyists, fans, and even scholars. Examining how transmedia storytelling is produced across platforms such as television and the web, she analyzes what this all means for the humanities.

What sort of knowledge projects take up these skills, attending to grain of detail, evoking affective intensities, and zooming in and out, representing multiple scales, as well as many different perspectives? And what might this mean for feminist transdisciplinary work, or something sometimes called the posthumanities? Paperback Cloth.

Katie King

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As Katie King describes in Networked Reenactments , science-styled television—such as the Secrets of Lost Empires series shown on the PBS program Nova —demonstrates how new technical and collaborative skills are honed by television producers, curators, hobbyists, fans, and even scholars.

Examining how transmedia storytelling is produced across platforms such as television and the web, she analyzes what this all means for the humanities.

What sort of knowledge projects take up these skills, attending to grain of detail, evoking affective intensities, and zooming in and out, representing multiple scales, as well as many different perspectives? And what might this mean for feminist transdisciplinary work, or something sometimes called the posthumanities? Get A Copy.

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