1,720,986 research outputs found
Book review: Genre publics: popular music, technologies, and class in Indonesia by Emma Baulch
No full textIn Genre Publics: Popular Music, Technologies, and Class in Indonesia, Emma Baulch explores the interconnections between the Indonesian public sphere and popular music. This is a rich contribution to the theorisation of genre publics, examining the varied socio-cultural dynamics of popular music and its role in constituting the public sphere in Indonesia, writes Rituparna Patgiri
Book Review: Emma Baulch, Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali. Durham and London: Duke University Press, 2007. 226 pp. ISBN 978-0-8223-4115-4 (pbk) $22.95
No full textSpecial Issue : Media/Politics in Indonesia [Editors]
No full textEmma Baulch and Julian Millie are editors of this special issue
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Demonetization
No full textOn 8 November 2016, the Government of India embarked upon one of the most radical monetary interventions in modern times. It did so by instantly demonetizing 85% of its paper cash in circulation with just a few hours of notice. The radical nature of this intervention also has to be understood in the context of an economy that has always been centred upon cash payments, relatively little of which passes through the banking sector. To pronounce a cashless future in an economy where debit cards have become predominant is one thing, but to do so in the Indian context constituted a massive leap of faith. Given Prime Minister Narendra Modi’s close relationship with Silicon Valley entrepreneurs and the huge potentials of the Indian market for microfinance, it is hardly surprising that international commentators rushed to praise the bold vision being applied in the overnight shift to a cashless society, an agenda that is being widely promoted across much of the world. One year on, however, it has become evident that this momentous decision was an economic disaster. This chapter reflects upon India’s year of demonetization and provides a critical interrogation of the assumptions underpinning the cashless agenda
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