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The Canadian media system, which in many respects is this society's "meeting ground"-its public square-is in the midst of a profound shift away from the foundations on which it has rested comfortably for decades. The publicly financed Canadian Broadcasting Corporation, long the backbone of the broadcasting system, is threatened by budget cuts and by technological change. The newspaper industry has fallen into the hands of a few powerful individuals. Huge global corporations and a vast communications revolution are dramatically altering the nature of news and entertainment. This book argues that unless action is taken these changes will narrow our access to the information we need as citizens and damage our capacity to communicate with each other and reflect on ourselves as a community. Power and Betrayal in the Canadian Media is a sweeping exploration of the Canadian media system and the impact it has on Canadian society, politics, and culture.

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"The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues--issues concerning that which takes place in between media--are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas. Starting out from an inclusive understanding of intermediality as "relations between media conventionally perceived as different," each author specifies and investigates "intermediality" in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. "Intermediality" thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research. This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena."

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In contrast with media constructed as vast, ontologically homogeneous, non-localized systems, formats show material networks of interoperability and exclusions, inscribed in local specificities, and involving precise conditions for the circulation of images and sounds. Formats, institutionalized as standards, frame the ?technical networks? defined by Gilbert Simondon, that unfold technical objects into economically and politically structured webs that cover the world. Media are always formatted and, as such, do not flow: they are displaced.

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Mass media