Jancovic, MarekVolmar, AxelSchneider, Alexandra2020-04-152020-04-152019978-3-95796-155-6https://mediarep.org/handle/doc/14608From TIFF files to TED talks, from book sizes to blues stations—the term “format” circulates in a staggering array of contexts and applies to entirely dissimilar objects and practices. How can such a pliable notion meaningfully function as an instrument of classification in so many industries and scientific communities? Comprising a wide range of case studies on the standards, practices, and politics of formats from scholars of photography, film, radio, television, and the Internet, Format Matters charts the many ways in which formats shape and are shaped by past and present media cultures. This volume represents the first sustained collaborative effort to advance the emerging field of format studies.<ul> <li><a href ='https://doi.org/10.25969/mediarep/13663'>Axel Volmar et al.: <i>Format Matters: An Introduction to Format Studies</i></a></li> </ul> <h4>Control, Access, Infrastructure</h4> <ul> <li><a href ='https://doi.org/10.25969/mediarep/13668'>Axel Volmar: <i>Reformatting Media Studies: Toward a Theoretical Framework for Format Studies</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13669'>Wanda Strauven: <i>Let’s Dance: GIF 1.0 versus GIF 2.0</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13670'>Ramon Lobato and Julian Thomas: <i>Formats and Formalization in Internet Advertising</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13671'>Florian Hoof: <i>Liveness Formats: A Historical Perspective on Live Sports Broadcasting</i></a></li> </ul> <h4>Archaeologies of Success and Failure</h4> <ul> <li><a href ='https://doi.org/10.25969/mediarep/13672'>Markus Stauff: <i>Formatting Cross-Media Circulation: On the Epistemology and Economy of Sports Highlights</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13673'>Alexandra Schneider: <i>Viewer’s Digest: Small Gauge and Reduction Prints as Liminal Compression Formats</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13674'>Roland Meyer: <i>Formatting Faces: Standards of Production, Networks of Circulation, and the Operationalization of the Photographic Portrait</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13675'>Erika Balsom: <i>Instant Failure: Polaroid’s Polavision, 1977–1980</i></a></li> </ul> <h4>Formats in Transition</h4> <ul> <li><a href ='https://doi.org/10.25969/mediarep/13664'>Marek Jancovic: <i>Fold, Format, Fault: On Reformatting and Loss</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13665'>Antonio Somaini: <i>The Screen as ‘Battleground’: Eisenstein’s ‘Dynamic Square’ and the Plasticity of the Projection Format</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13666'>Oliver Fahle and Elisa Linseisen: <i>HD’s Invention of Continuity and SD’s Resistance? A Historiography of Cinema and Film to (Be)come and Formats to Overcome</i></a></li> <li><a href ='https://doi.org/10.25969/mediarep/13667'>Kalani Michell: <i>Pod Fictions</i></a></li> </ul>engFormatFotografieFilmRadioMedientheorieInternet302.2338410.14619/155610.25969/mediarep/13676