" Dieses Handbuch bietet auf dem aktuellen Stand der Praxis und Forschung konkrete Impulse für die Schul- und Unterrichtsentwicklung. Dabei gehen die Autor:innen insbesondere auf die Merkmale eines kompetenzorientierten Unterrichts ein und untersuchen, inwiefern sich der Einsatz digitaler Medien sp
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eziell für dieses pädagogische Konzept anbietet. Andere Beiträge befassen sich mit Lernplattformen, Learning Analytics sowie mit Unterrichtskonzepten, die einen hybriden Einsatz digitaler und analoger Lernsettings vorsehen. Das Handbuch schließt mit einem Überblick über digitale Medien im Unterricht, gibt dazu didaktische Empfehlungen und vermittelt Ideen für die Praxis. Das Handbuch hat sich in kurzer Zeit zum Standardwerk entwickelt. Die 3. Auflage wurde vollständig aktualisiert und um neue Kapitel zu Künstlicher Intelligenz, insbesondere ChatGPT, in Schule und Unterricht ergänzt." (Verlagsbeschreibung)
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"The digital transformation is accompanied by two simultaneous processes: digital humanities challenging the humanities, their theories, methodologies and disciplinary identities and pushing computer science to get involved in new fields. But how can qualitative and quantitative methods be usefully
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combined in one research project? What are the theoretical and methodological principles across all disciplinary digital approaches? This volume focusses on driving innovation and conceptualising the humanities in the 21st century. Building on the results of 10 research projects, it serves as a useful tool for designing cutting-edge research that goes beyond conventional strategies." (Publisher description)
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"As Scandinavian societies experience increased ethno-religious diversity, their Christian-Lutheran heritage and strong traditions of welfare and solidarity are being challenged and contested. This book explores conflicts related to religion as they play out in public broadcasting, social media, loc
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al civic settings, and schools. It examines how the mediatization of these controversies influences people’s engagement with contested issues about religion, and redraws the boundaries between inclusion and exclusion." (Publisher description)
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"Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture in turmoil. Birgit Meyer
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captures the dynamic process of popular filmmaking in Ghana as a new medium for the imagination and tracks its interlacing of technological, economic, social, cultural, and religious elements. Filling the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Exploring the format of "film as revelation"—and the debt these films owe to religious notions of divination and revelation—Meyer elucidates the affinity between cinematic and popular Christian modes of looking and demonstrates the transgressive potential that haunts images of the occult." (Back cover)
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"This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema." (Publisher description)
"The list of critical terms selected and explicated in this book will signal many things to readers. It will certainly indicate that the study of media and religion is broadly interdisciplinary. Before the 1980s, the field, if it even was one, was largely the domain of historians of Christianity, Ch
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ristian communicators, and seminary professors, geared toward the improvement of church communication policy and practice, education, evangelism, and preaching. Matters have changed since then. Though religious organizations scholarship has explored the subject. Anthropology, cultural studies, media studies, visual and material culture, film studies, and religious studies are among the next generation of disciplines drawn to the study of media and religion. The new paradigm that this book articulates has described itself under a triad of terms: religion, media, and culture. What the third term means will be considered in detail in the Introduction here and in several of the Key Word essays. For the time being, it is important to say that the religion, media, and culture approach is not limited to the tendency to focus on journalism and communication policy, which is the legacy of the older practice. The aim here is not to dismiss or ignore them but to expand the remit and to change some key assumptions about what “religion” and “media” are in academic study. The difference turns on the third term, culture. The dominant approach taken here is constructivist in nature." (Preface, page xii-xiii)
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"Increasingly, Pentecostal, Buddhist, Muslim, Jewish, Hindu, and indigenous movements all over the world make use of a great variety of modern mass media, both print and electronic. Through religious booklets, radio broadcasts, cassette tapes, television talk-shows, soap operas, and documentary film
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these movements address multiple publics and offer alternative forms of belonging, often in competition with the postcolonial nation-state. How have new practices of religious mediation transformed the public sphere? How has the adoption of new media impinged on religious experiences and notions of religious authority? Has neo-liberalism engendered a blurring of the boundaries between religion and entertainment? The vivid essays in this interdisciplinary volume combine rich empirical detail with theoretical reflection, offering new perspectives on a variety of media, genres, and religions." (Publisher description)
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"This article addresses the interface of video-films and Pentecostal-Charismatic Christianity in Ghana. This interface, it is argued, needs to be examined from a position that transcends the confines of film studies and religious studies and leaves behind a secularist perspective on the relationship
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between religion and film. On the basis of detailed ethnographic research, it is shown that, far from standing apart from the realm of religious beliefs, video-films call upon audiovisual technologies so as to remediate Pentecostal views of the invisible world around which Pentecostal-Charismatic Christianity evolves. Video-films invoke a “techno-religious realism” that addresses spectators in such a way that they authorize video representations as authentic. Transcending facile oppositions of technology and belief, media and authenticity, and entertainment and religion, video-films are shown to achieve immediacy and authenticity not at the expense of, but thanks to, media technologies and practices of remediation." (Abstract)
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"In this article I examine the elective affinity between Pentecostalism and the vibrant video-film industry that has flourished in the wake of Ghana’s adoption of a democratic constitution. I argue that, as a result of the liberalization and commercialization of the media, a new public sphere has
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emerged that can no longer be fully controlled by the state but that is increasingly indebted to Pentecostalism. Pentecostalism and video-films come together and articulate alternative, Christian imaginations of modernity. Seeking to grasp the blurring of boundaries between religion and entertainment, I examine the pentecostalite cultural style on which these alternative visions thrive. My main concern is to investigate the specific mode through which Pentecostal expressive forms go public, thereby transforming the public sphere." (Abstract)
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"In this essay I have tried to show how, by taking as point of departure an understanding of religion as a practice of mediation, Pentecostalism has increasingly ‘taken place’, so to speak, in the public sphere as a result of Ghana’s turn to democracy and the liberalization and commercializati
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on of the media. Relatively undisturbed by the state, but all the more indebted to the emerging image-economy, Pentecostalism has spread in space, disseminating signs and adopting formats not entirely of its own making, and been taken up by popular culture. In the entanglement of religion and entertainment new horizons of social experience emerged, thriving on fantasy and vision and popularizing a certain pentecostally oriented mood. This movement of spatial extension, as I tried to show, is at times criticized from within, as pastors and believers fear to loose control. Yet, the fact that, on the level of experience, distraction and devotion are kept apart cannot be summoned in defense of an ontological difference between cinema and church, entertainment and religion. At the same time it would be too easy to simply write off the public appearance of Pentecostal-derived images as mere entertainment, as if the format of entertainment would completely absorb the religious and, in a sense, put an end to religion. The point is that in Ghana, Pentecostalism is alive and kicking exactly because it casts religion in a new (postmodern?) form, which is geared to mass spectatorship and part and parcel of Zerstreuung. Zerstreuung is meant here in the sense of ‘the dispersed, centrifugal structure of mass phenomena’ (Weber 1996: 94) which, as Benjamin showed, is condensed in the technology of film as it blows apart the prison of metropolitan space by ‘the dynamite of the tenth of a second’ and offers adventurous travelling among the ruins (1978:236), and puts together its imaged elements under new laws, which require new ways of reception that parallel the process of recording." (Conclusion)
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"As a result of the liberalisation and commercialisation of the media in the wake of Ghana's return to a democratic constitution in 1992, there has emerged a new public sphere which has been successfully and effectively colonised by Pentecostal-charismatic churches and led to the rise of a Pentecost
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alite public culture geared towards Christian entertainment. This paper focuses on the popular video-film industry, which stays close to audience expectations and deliberately appropriates Pentecostal styles of representation. Examining the entanglement of cinema and church, video-filmmakers and pastors, I argue that the marked presence of Pentecostal styles of representation in the public sphere contributes to the spread of a social imaginary geared towards the recuperation of the project of modernity under the new condition of an open public sphere, characterised by the retreat of the state and the overwhelming presence of market forces." (Abstract)
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