Explore the vast range of titles available.

In today's digital era, women's voices are heard everywhere-from smart home devices to social media platforms, virtual reality, podcasts, and even memes-but these new forms of communication are often accompanied by dated gender politics. In Women's Voices in Digital Media , Jennifer O'Meara dives into new and well-established media formats to show how contemporary screen media and cultural practices police and fetishize women's voices, but also provide exciting new ways to amplify and empower them. As she travels through the digital world, O'Meara discovers newly acknowledged-or newly erased-female voice actors from classic films on YouTube, meets the AI and digital avatars in Her and The Congress , and hears women's voices being disembodied in new ways via podcasts and VR voice-overs. She engages with dialogue that is spreading with only the memory of a voice, looking at how popular media like Clueless and The Simpsons have been mined for feminist memes, and encounters vocal ventriloquism on RuPaul's Drag Race that queers and valorizes the female voice. Through these detailed case studies, O'Meara argues that the digital proliferation of screens alters the reception of sounds as much as that of images, with substantial implications for women's voices.

AI-generated voices are increasingly prevalent in our lives, via virtual assistants, automated customer service, and voice-overs. With increased availability and affordability of AI-generated voices, we need to examine how humans perceive them. Recently, an intriguing effect was reported in AI-generated faces, where such face images were perceived as more human than images of real humans – a “hyperrealism effect.” Here, we tested whether a “hyperrealism effect” also exists for AI-generated voices. We investigated the extent to which AI-generated voices sound real to human listeners, and whether listeners can accurately distinguish between human and AI-generated voices. We also examined perceived social trait characteristics (trustworthiness and dominance) of human and AI-generated voices. We tested these questions using AI-generated voices generated with and without a specific human counterpart (i.e., voice clones, and voices generated from the latent space of a large voice model). We find that voice clones can sound as real as human voices, making it difficult for listeners to distinguish between them. However, we did not observe a hyperrealism effect. Both types of AI-generated voices were evaluated as more dominant than human voices, with some AI-generated voices also being perceived as more trustworthy. These findings raise questions for future research: Can hyperrealistic voices be created with more advanced technology, or is the lack of a hyperrealism effect due to differences between voice and face (image) perception? Our findings also highlight the potential for AI-generated voices to misinform and defraud, alongside opportunities to use realistic AI-generated voices for beneficial purposes.

This paper contributes to research on the outcomes of employee prosocial voice to managers by focusing on the relationships between voice and two managerially controlled outcomes: managerial performance ratings and involuntary turnover. Past research has considered voice from either the managerial or subordinate perspective individually and found that it can lead to positive outcomes because of its improvement-oriented nature. However, others have argued that voice can lead to unfavorable outcomes for employees. To begin resolving these competing perspectives, we examine agreement and disagreement between employees and their managers on the extent to which employees provide upward voice, proposing and demonstrating that considering either perspective alone does not fully capture how voice is related to employee outcomes. Findings from a study of 7,578 subordinates and their 335 general managers within a national restaurant chain indicate that agreement between employees and managers that employees display a high level of voice leads to favorable outcomes for employees. Our findings then extend existing research by showing that supervisor–subordinate disagreement around voice also helps explain employee outcomes—namely, how negative outcomes arise as a result of employees overestimating their voice relative to their managers' perspective and how positive outcomes result when employees underestimate their upward voice.

Literature in music theory and psychology shows that, even in isolation, musical sounds can reliably encode gender-loaded messages. Musical material can be imbued with many ideological dimensions and gender is just one of them. Nonetheless, studies of the gendering of music within multimodal communicative events are sparse and lack an encompassing theoretical framework. The present study attempts to address this literature gap by employing a critical quantitative analysis of music in gendered toy marketing, which integrated a content analytical approach with multimodal affective and music-focused perceptual responses. Ratings were collected on a set of 606 commercials spanning a ten-year time frame and strong gender polarization was observed in nearly all of the collected variables. Gendered music styles in toy commercials exhibit synergistic design choices, as music in masculine-targeted adverts was substantially more abrasive—louder, more inharmonious, and more distorted—than in feminine-targeted ones. Thus, toy advertising music appeared deliberately and consistently in line with traditional gender norms. In addition, music perceptual scales and voice-related content analytical variables explain quite well the heavily polarized affective ratings. This study presents a empirical understanding of the gendering of music as constructed within multimodal discourse, reiterating the importance of the sociocultural underpinnings of music cognition. We provided a public repository with all code and data necessary to reproduce the results of this study on github.com/marinelliluca/music-role-gender-marketing .

[...]in a subject's experience at the movies and in the world, perception doubles as expression, \"the latter articulated as the visible gesture of the former\" (Sobchack, 41). [...]the ideal (genius) begins to color one's understanding of the very rudiments of the idea (genre), in effect contradicting the \"general\" idea of genre. Throughout the film, Krasna/Marker makes a valiant attempt to become other, illustrating in the process the vertiginous orientation of selfhood for a globalized subject. [...]Marker/Krasna seems to inhabit the memories of people he briefly encounters; he recalls the grief of a cat owner who had traveled to a cat temple to honor her departed friend, the rancor of anti-colonial fighters in Guinea-Bissau, the final words of a kamikaze pilot, and, in Hitchcock's Vertigo (1958), Johnny's melancholic fondness for his dead lover Madeleine. [...]Artaud understood the creative energy behind art as grounded in the body of the artist.

[...]by severely limiting the number of objects on the screen and prolonging the duration that any given element is before the spectator, the closed style of Carl Theodor Dreyer’s Gertrud (1964) sensitizes us to the visual and aural presence of the people and things in the film over and above their narrative utility. [...]both open and closed films have the potential to “roughen” form, inducing spectators to “concentrate on the processes of perception in and of themselves, rather than for some practical end” (Thompson 1988: 36). [...]with both the classical Hollywood cinema and the expository mode of documentary filmmaking (see Nichols 2010: 167-171), where a story or rhetorical argument is “the dominant around which other filmic resources are moulded,” in the work of Huillet and Straub, “a tenuous or gapped narrative or argumentation fails to fully unify a film; the representation of time and space is not solely committed to a content to be transmitted, and sounds and images engage our attention as materials in their own right” (Bösser 2005: 24-25). Furthermore, the voice-overs’ identification of some, but not all, of these places is a stylistic parameter whose variation over the course of the film disturbs the unity of text and image by highlighting its own arbitrariness. 4 Early in the film, over a shot panning rightward across a rural landscape to reveal a winding road (shot 4), Huillet says, “In Bretagne, in three villages in the district of Carhaix, it looked like this. [...]near the end of the shot, a white hatchback drives up the road towards the camera, exiting on the left side of the screen, and in the next shot, an identical hatchback enters on the left, passing a sign reading “Tréogan” as it speeds away from the camera, casting doubt on the unity of text and image:

ObjectivesWe tested a modified co-design process to develop a set of high-level design principles for visual identification systems (VIS) for hospitalised people with dementia.DesignWe designed and ran remote workshops in three phases with carers of people with dementia and healthcare staff. In phase 1 we presented participants with scenarios based on findings from prior research, prompting participants to discuss their own experiences of VIS. Phase 2 used more future-focused scenarios, prompting participants to co-design improved VIS. In phase 3, a set of provisional design principles developed from our analysis of phases 1 and 2 data were discussed.SettingOnline workshops.ParticipantsA total of 26 carers and 9 healthcare staff took part in a pilot and three separate workshops.ResultsWe identified a set of six dementia-friendly design principles for improving the effectiveness of VIS: (1) The hospital trust provides a professionally-trained workforce and an appropriate culture of care; (2) the symbol is easily recognisable and well understood; (3) key personal information is readily available and accessible; (4) key personal information is integrated into the electronic patient record; (5) relatives and carers are involved in providing key information and monitoring care; (6) the principles need to function as a system to be successful. Participants suggested that, in addition to the use of an identifier and key personal information, professional standards training, effective information and records management and improved means to involve carers and/or families were key to the effective operation of VIS, leading us to expand a narrow understanding of a VIS.ConclusionUsing a scenario-led co-design approach can help trigger useful discussions with staff and carer groups, identify current problems with VIS and develop a set of high-level design principles for their improvement. These principles reveal day-to-day frictions that require further attention and resolution.

Guy Debord's thought is invariably associated with a certain experience and critique of time. I am attempting to trace the concept of time in his cinematographic legacy and in the creation of his private mythology. In following Janet Harbord's notion of ex-centric cinema which defines a project of potentiality in the realm of experience, I am focusing on this particular kind of cinema that escapes the established forms and the non-lived. My aim is to trace through the method of film archaelogy, the fragments of temporality, and to bring to the surface the concept of time and its manifestation in variable forms in Debord's cinematographic language. Thus, I am exploring the potentiality of the virtual in his cinema. In order to trace the experience of the concept of time in Debord's cinema, I am discussing the discursive formation in two of his films: Critique of Separation (1961) and On The Passage of a Few Persons Through a Rather Unity of Time (1959). Whilst being composed of a variety of documentary footage, of shots of the urban landscape and of tracking shots of photographs, the films are a record of an invisible history that takes place within the city. The diegesis of the film is being formed by the narrator that argues about a micro-society that created a network of interactions within the urban landscape. I am focusing on the voice-over of Debord and particularly on his rhetoric. I am discussing how his language functions in relation to the images thus constructing a montage-palimpsest. Keywords: Ex-centric Cinema, Film Archaeology, Guy Debord, Time, Spectacle

How do national institutional contexts mediate the global? This article aims to answer this question by analyzing screen translation—the translation of audiovisual materials like movies and television programs—in four European countries: France, Italy, the Netherlands, and Poland. A cross-national, multi-method research project combining interviews, ethnography, and a small survey found considerable cross-national differences in translation norms and practices, sometimes leading to very different translated versions of the same product. The analysis shows how differences between national translation fields are produced and perpetuated by the interplay of institutional factors on four interdependent levels: technology, and the organizational, national, and transnational fields. On each level, various institutions are influential in shaping nationally specific translation norms and practices by producing institutional constraints or imposing specific meanings. I propose a model that explains the persistence of national translation systems—not only from the logics of specific institutions, fields, or levels—but by the feedback loops and interdependencies between institutions on various levels. This analysis has implications for the sociological understanding of globalization, the production of culture and media, cross-national comparative research, as well as institutional theory and the role of translation in sociological practice.