257 pages

English

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Duke University Press - Parks Lisa Parks

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257 pages

English

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In 1957 Sputnik, the world's first man-made satellite, dazzled people as it zipped around the planet. By the beginning of the twenty-first century, more than eight thousand satellites orbited the Earth, and satellite practices such as live transmission, direct broadcasting, remote sensing, and astronomical observation had altered how we imagined ourselves in relation to others and our planet within the cosmos. In Cultures in Orbit, Lisa Parks analyzes these satellite practices and shows how they have affected meanings of "the global" and "the televisual." Parks suggests that the convergence of broadcast, satellite, and computer technologies necessitates an expanded definition of "television," one that encompasses practices of military monitoring and scientific observation as well as commercial entertainment and public broadcasting.Roaming across the disciplines of media studies, geography, and science and technology studies, Parks examines uses of satellites by broadcasters, military officials, archaeologists, and astronomers. She looks at Our World, a live intercontinental television program that reached five hundred million viewers in 1967, and Imparja tv, an Aboriginal satellite tv network in Australia. Turning to satellites' remote-sensing capabilities, she explores the U.S. military's production of satellite images of the war in Bosnia as well as archaeologists' use of satellites in the excavation of Cleopatra's palace in Alexandria, Egypt. Parks's reflections on how Western fantasies of control are implicated in the Hubble telescope's views of outer space point to a broader concern: that while satellite uses promise a "global village," they also cut and divide the planet in ways that extend the hegemony of the post-industrial West. In focusing on such contradictions, Parks highlights how satellites cross paths with cultural politics and social struggles.

Sujets

Sociologie, société et politique

Communication studies

Media studies

Informations

Publié par	Duke University Press
Date de parution	20 avril 2005
Nombre de lectures	0
EAN13	9780822386742
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,1348€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Cultures in Orbit

C O N S O L E - I N G P A S S I O N S

T E L E V I S I O N A N D C U L T U R A L P O W E R Edited by Lynn Spigel

Lisa Parks

Cultures in Orbit

Satellites and the Televisual

D U K E U N I V E R S I T Y P R E S S

2 0 0 5

D U R H A M A N D L O N D O N

Printed in the United States of America on acid-free paper 

Typeset in Scala by Tseng Information Systems

Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book.

In loving memory of my grandmother,

Marion Mann.

Contents

Acknowledgments

Introduction



Satellite Spectacular • Our Worldand the Fantasy of Global Presence

Satellite Footprints • Imparjaand Postcolonial Flows in Australia

Satellite Witnessing • Views and Coverage of the War in Bosnia

Satellite Archaeology • Remote Sensing Cleopatra in Egypt

Satellite Panoramas • Astronomical Observation and Remote Control

Conclusion

Notes



Bibliography

Index







Acknowledgments

This project began nearly a decade ago in a graduate seminar, and it has, thankfully, mutated and transformed many times since then. It once took shape as my Ph.D. dissertation in the Department of Communication Arts at the University of Wisconsin, Madison, where I was fortunate to work with a wonderful medley of professors and graduate students, whom I will never be able to thank enough for creating such a stimulating place to think, learn, and live. Faculty members Julie D’Acci, Michele Hilmes, Nick Mirzoeﬀ, Jo Ellen Fair, David Bordwell, Vance Kepley, Robert McChesney, and Jack Kugelmass oﬀered wisdom and encouragement in and out of their courses, and in one way or another they helped spawn ideas related to this project. I am especially thankful to my adviser and friend John Fiske, whose juggling of intellectual pursuits, political commitments, and popular plea-sures dazzle me to this day and who helped spin me into the orbit of writ-ing this book. Also instrumental was a sharp and lively cohort of fellow graduate students and friends at, Madison, including Doug Battema, Aniko Bodroghkozy, Carolyn Bronstein, Paula Chakravarrty, Steve Classen, Norma Coates, Jennifer Fay, Shari Goldin, Derek Kompare, Elana Levine, Daniel Marcus, Donald Mekiﬀe, Jason Mittell, Matthew Murray, Darrell Newton, Jeﬀ Sconce, Chris Smith, Tasha Oren, and Pamela Wilson. Most of all I thank Moya Luckett, Jenny Thomas, Kevin Glynn, Andrew Foster, and Guven Sargin for remaining dear pals over the years. I am also extremely grateful to Michael Kackman, whose insights and warmth are scattered throughout these pages. When I moved to the Department of Film Studies at the University of California, Santa Barbara, this book continued to develop and transform. My colleagues and students here have been tremendously generous, and I am privileged to work with people of rare intelligence, kindness, and col-legiality. I am grateful to the Film Studies faculty: Edward Branigan, Dana