Undocumented Storytellers offers a critical exploration of the ways undocumented immigrant activists harness the power of storytelling to mitigate the fear and uncertainty of life without legal status and to advocate for immigration reform. Sarah C. Bishop chronicles the ways young people uncover their lack of legal status experientially - through interactions with parents, in attempts to pursue rites of passage reserved for citizens, and as audiences of political and popular media. She provides both theoretical and pragmatic contextualization as activist narrators recount the experiences that influenced their decisions to cultivate public voices. Bishop draws from a mixed methodology of in-depth interviews with undocumented immigrants from eighteen unique nations of origin, critical-rhetorical ethnographies of immigrant rights events and protests, and narrative analysis of immigrant-produced digital media to interrogate the power and limitations of narrative activism. Autobiographical immigrant storytelling refutes mainstream discourse on immigration and reveals the determination of individuals who elsewhere have been vilified by stereotype and presupposition. Offering an unparalleled view into the ways immigrants' stories appear online, Bishop illuminates digital narrative strategies by detailing how undocumented storytellers reframe their messages when stories have unintended consequences. The resulting work provides broad insights into the role of strategic framing and autobiographical story-sharing in advocacy and social movements.

Television and film have always been connected, but recent years have seen them overlapping, collaborating, and moving towards each other in ever more ways. Set amidst this moment of unprecedented synergy, this book examines how television and film culture interact in the 21st century. Both media appear side by side in many platforms or venues, stories and storytellers cross between them, they regularly have common owners, and they discuss each other constantly. Jonathan Gray and Derek Johnson examine what happens at these points of interaction, studying the imaginary borderlands between each medium, the boundary maintenance that quickly envelops much discussion of interaction, and ultimately what we allow or require television and film to be. Offering separate chapters on television exhibition at movie theaters, cinematic representations of television, television-to-film and film-to-television adaptations, and television producers crossing over to film, the book explores how each zone of interaction invokes fervid debate of the roles that producers, audiences, and critics want and need each medium to play. From Game of Thrones to The TV Set, Bewitched to the Marvel Cinematic Universe, hundreds of TV shows and films are discussed. Television Goes to the Movies will be of interest to students and scholars of television studies, film studies, media studies, popular culture, adaptation studies, production studies, and media industries.

Since Joseph Pulitzer first established a prize for the best editorial in1917, the award's prestige has grown steadily. Today the Pulitzer is acknowledged as the most distinguished prize in journalism. All 87 years of these prize-winning pieces are collected in the updated third edition of "Pulitzer Prize Editorials: America's Best Writing, 1917-2003,"

This book is an impressive anthology that illustrates the evolution of editorial writing over the decades. Each entry contains the entire, unabridged text of the prize-winning editorial from that year, and is preceded by a succinct introduction from the editors. From students learning the craft to accomplished opinion writers, "Pulitzer Prize Editorials" makes it possible for all students of editorial writing to learn from the bestrs.

In recent years marketing has played an ever more important role for daily newspapers and popular magazines. The reader's continuing buying restraint, falling sales, reductions in advertising income and the loss of classified advertising to the Internet, are all symptoms of a crisis. This forces publishing houses to optimize operational processes. Not least the growing competition, both with electronic media and between publishers leads to an ever-increasing importance of the marketing department for the success of the business. Peter Brummund, who has spent years in leading positions in the branch himself, takes a look at this business aspect of the press. In keeping with the practical needs of the specialist reader, the author summarizes the sales and marketing structures of the press: the "classical" and the new marketing channels, engendered by new technology such as the Internet, digital printing and satellite transmissions. The different marketing channels using subscriptions, individual sales, readers clubs and direct marketing are explained in detail, as are elementary mechanisms such as disposition, remittance, fixed prices and discounts. The way press wholesalers function is presented with the general technical and legal conditions and enlarged upon using concrete case studies.

Based on new interviews and never-before-seen archival materials, ""Woodward and Bernstein"" takes a fresh, thought-provoking look at this unlikely journalistic duo. Thrown together by fate or luck, Woodward and Bernstein changed the face of journalism and the American presidency. For the first time, Shepard separates myth from reality as she traces the lives of the iconic journalists before and after Watergate.

The diary of radio correspondent James Cassidy presents a unique view of World War II as this reporter followed the Allied armies into Nazi Germany. James Joseph Cassidy was one of 362 American journalists accredited to cover the European Theater of Operations between June 7, 1944, and the war's end. Radio was relatively new, and World War II was its first war. Among the difficulties facing historians examining radio reporters during that period is that many potential primary documents-their live broadcasts-were not recorded. In NBC Goes to War, Cassidy's censored scripts alongside his personal diary capture a front-line view during some of the nastiest fighting in World War II as told by a seasoned NBC reporter. James Cassidy was ambitious and young, and his coverage of World War II for the NBC radio network notched some notable firsts, including being the first to broadcast live from German soil and arranging the broadcast of a live Jewish religious service from inside Nazi Germany while incoming mortar and artillery shells fell 200 yards away. His diary describes how he gathered news, how it was censored, and how it was sent from the battle zone to the United States. As radio had no pictures, reporters quickly developed a descriptive visual style to augment dry facts. All of Cassidy's stories, from the panic he felt while being targeted by German planes to his shock at the deaths of colleagues, he told with grace and a reporter's lean and engaging prose. Providing valuable eyewitness material not previously available to historians, NBC Goes to War tells a "bottom-up" narrative that provides insight into war as fought and chronicled by ordinary men and women. Cassidy skillfully placed listeners alongside him in the ruins of Aachen, on icy back roads crawling with spies, and in a Belgian bar where a little girl wailed "Les Americains partent!" when Allied troops retreated to safety, leaving the town open to German re-occupation. With a journalistic eye for detail, NBC Goes to War unforgettably portrays life in the press corps. This newly uncovered perspective also helps balance the CBS-heavy radio scholarship about the war, which has always focused heavily on Edward R. Murrow and his "Murrow's Boys."

Based on new interviews and never-before-seen archival materials, ""Woodward and Bernstein"" takes a fresh, thought-provoking look at this unlikely journalistic duo. Thrown together by fate or luck, Woodward and Bernstein changed the face of journalism and the American presidency. For the first time, Shepard separates myth from reality as she traces the lives of the iconic journalists before and after Watergate.

The Russian media are widely seen to be increasingly controlled by the government. Leaders buy up dissenting television channels and pour money in as fast as it haemorrhages out. As a result, TV news has become narrower in scope and in the range of viewpoints which it reflects: leaders demand assimilation and shut down dissenting stations. Using original and extensive focus group research and new developments in cognitive theory, Ellen Mickiewicz unveils a profound mismatch between the complacent assumption of Russian leaders that the country will absorb their messages, and the viewers on the other side of the screen. This is the first book to reveal what the Russian audience really thinks of its news and the mental strategies they use to process it. The focus on ordinary people, rather than elites, makes a strong contribution to the study of post-communist societies and the individual's relationship to the media.

Culture will keep you fit and healthy. Culture will bring communities together. Culture will improve your education. This is the message from governments and arts organisations across the country; however, this book explains why we need to be cautious about culture. Offering a powerful call to transform the cultural and creative industries, Culture is bad for you examines the intersections between race, class, and gender in the mechanisms of exclusion in cultural occupations. Exclusion from culture begins at an early age, the authors argue, and despite claims by cultural institutions and businesses to hire talented and hardworking individuals, women, people of colour, and those from working class backgrounds are systematically disbarred. While the inequalities that characterise both workforce and audience remain unaddressed, the positive contribution culture makes to society can never be fully realised. -- .

Most current research on the evolution of China's propaganda discourse only touches upon recent variations of official propaganda rhetoric grounded in popular media. Here, the research is extended by tapping into the most recently released popular cultural media narratives such as online documentaries, films, TV drama serials and education programs, all of which are enlisted and co-opted by the state for propaganda goals. This book maps out the cutting-edge expansions of official propaganda that are embedded in the entertainment industry of contemporary China. Its case studies bring to light the progression of the mainstream propaganda discourse in terms of its merging, cooperation and compromise with the commercial features of both the traditional and newly-emerging entertainment media. In particular, it examines a group of mass entertainment products which include two best-selling mainstream blockbusters, two on-line commercial web documentaries, the China Central Television Moon Festival Gala series, socialist revolutionary TV drama serials, and a prime time science and education program. In so doing, it forefronts the up-to-date developments and novelties of state propaganda: its motives, reasoning and approaches within the mediasphere of today's China. Illustrating how the CCP propaganda apparatus and tactics evolve and become embedded in popular media products, this book will be of interest to students and scholars of Chinese studies, Media Studies and Popular Cultural Studies.

23 Innovations in Digital Communication describes, criticizes and evaluates 23 digital innovations that are used in media and communication. Innovations that are not hypes, but that were implemented to reach permanent changes in media and communication. The innovations are supported by testimonials of professionals in the field and the scientific foundation of their mechanism of action. The impact and professional, scientific and social challenges coming with these innovations are discussed. Reading this book will render deep insights into how innovative digital media can be used to influence buying behavior and decision-making. This book answers questions such as "How do I create a strong brand story?", "What are the effects of serious gaming?", "How can we use VR in our communication?", "How do consumers process emotional stories?" and "Is persuasion profiling unethical?". The answers to these questions are not only based on the authors knowledge and research, but each innovation is also discussed by top experts on that specific innovation.

In the twenty-first century, mass media corporations are often seen as profit-hungry money machines. It was a different world in the early days of mass communication in America. Faith in Reading tells the remarkable story of the noncommercial religious origins of our modern media culture. In the early nineteenth century, a few visionary entrepreneurs decided the time was right to reach everyone in America through the medium of print. Though they were modern businessmen, their publishing enterprises were not commercial businesses but nonprofit societies committed to the publication of traditional religious texts. Drawing on organizational reports and archival sources, David Paul Nord shows how the managers of Bible and religious tract societies made themselves into large-scale manufacturers and distributors of print. These organizations believed it was possible to place the same printed message into the hands of every man, woman, and child in America. Employing modern printing technologies and business methods, they were remarkably successful, churning out millions of Bibles, tracts, religious books, and periodicals. They mounted massive campaigns to make books cheap and plentiful by turning them into modern, mass-produced consumer goods. Nord demonstrates how religious publishers learned to work against the flow of ordinary commerce. They believed that reading was too important to be left to the "market revolution," so they turned the market on its head, seeking to deliver their product to everyone, regardless of ability or even desire to buy. Wedding modern technology and national organization to a traditional faith in reading, these publishing societies imagined and then invented massmedia in America.

Something is wrong with American journalism. Long before "fake news" became the calling card of the Right, Americans had lost faith in their news media. But lately, the feeling that something is off has become impossible to ignore. That's because the majority of our mainstream news is no longer just liberal; it's woke. Today's newsrooms are propagating radical ideas that were fringe as recently as a decade ago, including "antiracism," intersectionality, open borders, and critical race theory. How did this come to be? It all has to do with who our news media is written by-and who it is written for. In Bad News: How Woke Media Is Undermining Democracy, Batya Ungar-Sargon reveals how American journalism underwent a status revolution over the twentieth century-from a blue-collar trade to an elite profession. As a result, journalists shifted their focus away from the working class and toward the concerns of their affluent, highly educated peers. With the rise of the Internet and the implosion of local news, America's elite news media became nationalized and its journalists affluent and ideological. And where once business concerns provided a countervailing force to push back against journalists' worst tendencies, the pressures of the digital media landscape now align corporate incentives with newsroom crusades. The truth is, the moral panic around race, encouraged by today's elite newsrooms, does little more than consolidate the power of liberal elites and protect their economic interests. And in abandoning the working class by creating a culture war around identity, our national media is undermining American democracy. Bad News explains how this happened, why it happened, and the dangers posed by this development if it continues unchecked.

Global Cultural Economy critically interrogates the role cultural and creative industries play in societies. By locating these industries in their broader cultural and economic contexts, Christiaan De Beukelaer and Kim-Marie Spence combine their repertoires of empirical work across four continents to define the 'cultural economy' as the system of production, distribution, and consumption of cultural goods and services, as well as the cultural, economic, social, and political contexts in which it operates. Each chapter introduces and discusses a different theme, such as inclusion, diversity, sustainability, and ownership, highlighting the tensions around them to elicit an active engagement with possible and provisional solutions. The themes are explored through case studies including Bollywood, Ghanaian music, the Korean Wave, Jamaican Reggae, and the UN Creative Economy Reports. Written with students, researchers, and policy-makers in mind, Global Cultural Economy is ideal for anyone interested in the creative and cultural industries, media and cultural studies, cultural policy, and development studies.

This book discusses the use of authorship discourses and author figures in the promotion and marketing of media content, dealing with the U.S. mainstream media, including franchise film, network television, and triple-A video games. The research takes a unique approach studying ideas of authorship in promotion, diverging from extant approaches looking at the text, production, or reception. Conceptualizing authorship within the logic of media branding, the book studies the construction of ideas around creativity and the creative person in marketing and publicity content where media industries communicate with audiences. A cross-media approach allows the book to take a broad look and make comparisons across the increasingly integrated media industries. The book will be of great relevance to academics in the fields of film, television, and media studies, including postgraduate students, conducting teaching and research around authorship, media industries, and media promotion.

Bubbly fine arts graduate Gene is desperate to get into the film industry. She moves to Cape Town and works as a photographer for a tabloid magazine. Gene starts moonlighting on film sets and finds herself on an Indian paint commercial where a big Bollywood producer offers her a six-month stint in his company in Mumbai. Unable to resist the lure and glamour of working in film and travelling the world business class, she leaps at the opportunity and soon finds herself on a plane headed for India. But there is no free curry in Mumbai. On arrival she realises she is expected to sleep with the producer, and slips into an uneasy, culturally challenging role as his new ferangi girlfriend. The producer soon insists on transforming Gene into a size-6 blonde who he can show off on the red carpet. He puts her on a gruelling diet and stringent exercise regime. Once a teenage anorexic, this pushes all her deepest buttons of insecurity around her fraught body issues. Even though he is twice her age, overweight and often rude, she becomes obsessed with him, and is soon convinced that he is cheating on her. She goes on an all-out mission to make him love her. When it becomes clear the producer no longer wants her, she manipulates her way into turning her six-month work stint into a sixyear epic stay. In her first year there, she works on 96 commercials and gets drawn into the rich cultural textures of India, experiencing India in a way rarely written about. With access to the who’s who in Bollywood, she rubs shoulders with India’s most famous glitterati, including the great Bly Avibath, India’s most famous actor. Gene also becomes close to Bollywood’s top director, Kiran, and they dream about making the film of her life, together. After a traumatic night with the producer in a London hotel, she realises it’s time to leave India and come home. Although she continues to return to Bollywood over the next few years to do films with her hero Bly Avibath, who insists that she work with him, the producer now has little hold over her. On the last film that Gene does with Bly she tells him about her dream to tell her story. He surprises her by buying her a MacBook.

Former chief CNN India correspondent and award-wining journalist Ravi Agrawal takes readers on a journey across the Subcontinent, through its remote rural villages and its massive metropolises, seeking out the nexuses of change created by smartphones, and with them connection to the internet. As always with India, the numbers are staggering: in 2000, 20 million Indians had access to the internet; by 2017, 465 million were online, with three Indians discovering the internet every second. By 2020, India's online community is projected to exceed 700 million, and more than a billion Indians are expected to be online by 2025. In the course of a single generation, access to the internet has progressed from dial-up connections on PCs, to broadband access, wireless, and now 4G data on phones. The rise of low-cost smartphones and cheap data plans has meant the country leapfrogged the baby steps their Western counterparts took toward digital fluency. The results can be felt in every sphere of life, upending traditions and customs and challenging conventions. Nothing is untouched, from arranged marriages to social status to business start-ups, as smartphones move the entire economy from cash-based to credit-based. Access to the internet is affecting the progress of progress itself. As Agrawal shows, while they offer immediate and sometimes mind-altering access to so much for so many, smartphones create no immediate utopia in a culture still riven by poverty, a caste system, gender inequality, illiteracy, and income disparity. Internet access has provided greater opportunities to women and changed the way in which India's many illiterate poor can interact with the world, but it has also meant that pornography has become more readily available. Under a government keen to control content, it has created tensions. And in a climate of hypernationalism, it has fomented violence and even terrorism. The influence of smartphones on "the world's largest democracy" is nonetheless pervasive and irreversible, and India Connected reveals both its dimensions and its implications.

This is the first scholarly history of Fox from its origins in 1904 to the present. It builds upon research and histories of individual periods to describe how one company responded to a century-long evolution of the audience, nationally and globally. In the beginning, William Fox grabbed a once-in-a-millennium opportunity to build a business based on a genuinely new art form. This study explores the enduring legacy of F.W. Murnau, Will Rogers, Shirley Temple, John Ford, Spyros Skouras, George Lucas, James Cameron, and many others, offering discussion of those behind and in front of the camera, delving deeply into the history and evolution of the studio. Key films covered include The Iron Horse, The Grapes of Wrath, How Green Was My Valley, Forever Amber, All About Eve, Cleopatra, The Sound of Music, Planet of the Apes, Star Wars, Titanic, and Fight Club, providing an extensive look at the successes and flops that shaped not only Twentieth Century Fox, but the entire Hollywood landscape. Through a chronological study, the book charts the studio's impact right up to the present day, providing a framework to allow us to look to the future of moviemaking and film consumption. Lively and fresh in its approach, this book is a comprehensive study of the studio for scholars, students, and enthusiasts of Hollywood cinema, film history, and media industries.

This book makes the startling case that North Americans were getting on the "information highway" as early as the 1700's, and have been using it as a critical building block of their social, economic, and political world ever since.

By the time of the founding of the United States, there was a postal system and roads for the distribution of mail copyright laws to protect intellectual property, and newspapers, books, and broadsides to bring information to a populace that was building a nation on the basis of an informed electorate. In the 19th century, Americans developed the telegraph, telephone, and motion pictures, inventions that further expanded the reach of information. In the 20th century they added television, computers, and the Internet, ultimately connecting themselves to a whole world of information.

From the beginning North Americans were willing to invest in the infrastucture to make such connectivity possible. This book explores what the deployment of these technologies says about American society. The editors assembled a group of contributors who are experts in their particular fields and worked with them to create a book that is fully integrated and cross-referenced.

Sarah Niblock and David Machin bring us a much needed book that bridges the gap between journalistic theory and practice. The authors respond to a recent and growing recognition in academia and indeed journalism of the importance of reflective practice based on consultation of the sociological literature on journalism and the media industry. There is a distinct lack of up-to-date publications on journalists at work, the most recent ethnographies having been published in the 1980s. This book will provide detailed ethnographies of eight different news production settings. Each chapter follows two news workers through their daily routines, detailing the exact nature of their jobs, the constraints they may encounter, how they cope with those constraints and finally to what extent their work can be understood through reference to the sociological theory and vice versa. Chapters include "News agencies: something to please everyone," "The roving reporter," "Photojournalism" and "The new reporter learning the ropes."
The book is set in context by two opening chapters on the "History of News" and the "Sociology of News gathering." The former holds the premise that it is impossible to understand journalistic practice, the workings of the industry, or news values and the morality of "objectivity" without looking at the way that the news industry has grown up over the past 100 or so years. The emphasis of this chapter is very much on looking forward to the ethnographies which follow. "Sociology of news gathering" similarly details the sociological theory relevant to the ensuing chapters, theories which will be constantly referred back to throughout the course of the book. The section will becomprised of a review of the sociological literature on news agencies, news gathering, news values, the public sphere and tabloidisation.
This book will be an invaluable and much-needed real-life account of reporting in the context of contemporary newsrooms. For students taking practical units in news reporting, sub-editing and even law and ethics, this text will provide the type of concrete examples they will need to consolidate their skills-based training. The ethnographies will provide case-studies against which they can compare their experiences. Most journalism and media courses require their students to complete work-based assignments which are assessed through reflective reports. This book will help students prepare for their placements by gaining a strong sense of the working environment and tasks. It will also help students raise questions about their placements to form the basis of their reports. These reports expect them to synthesise the practice of journalism with the critical accounts of the profession by academics. No other journalism text does this.

Alexis Papathanassis postulates that ICS ought to be treated as a complex and demanding management process and that it should be acknowledged as a key enabler of merger value realization. The application of his "Post-merger information and communication systems framework" (POMICS) on a real-life post-merger integration situation in a tourism company serves as a validation and as an illustration of the framework's potential value. It also gives valuable insights into some of the key questions facing the entire tourism sector today.

Few modern innovations have spread quite so quickly as the cell phone. This technology has transformed communication throughout the world. Mobile telecommunications have had a dramatic effect in many regions, but perhaps nowhere more than for low-income populations in countries such as Jamaica, where in the last few years many people have moved from no phone to cell phone. This book reveals the central role of communication in helping low-income households cope with poverty. The book traces the impact of the cell phone from personal issues of loneliness and depression to the global concerns of the modern economy and the transnational family. As the technology of social networking, the cell phone has become central to establishing and maintaining relationships in areas from religion to love. The Cell Phone presents the first detailed ethnography of the impact of this new technology through the exploration of the cell phone's role in everyday lives.

From the punch card calculating machine to the personal computer to the iPhone and more, this in-depth text offers a comprehensive introduction to digital media history for students and scholars across media and communication studies, providing an overview of the main turning points in digital media and highlighting the interactions between political, business, technical, social, and cultural elements throughout history. With a global scope and an intermedia focus, this book enables students and scholars alike to deepen their critical understanding of digital communication, adding an understudied historical layer to the examination of digital media and societies. Discussion questions, a timeline, and previously unpublished tables and maps are included to guide readers as they learn to contextualize and critically analyze the digital technologies we use every day.

In the mid-1970s, Sylvere Lotringer created Semiotext(e), a philosophical group that became a magazine and then a publishing house. Since its creation, Semio-text(e) has been a place of stimulating dialogue between artists and philosophers, and for the past fifty years, much of American artistic and intellectual life has depended on it. The model of the journal and the publishing house revolves around the notion of the collective, and Lotringer has rarely shared his personal journey: his existence as a hidden child during World War II; the liberating and then traumatic experience of the collective in the kibbutz; his Parisian activism in the 1960s; his time of wandering, that took him, by way of Istanbul, to the United States; and then, of course, his American years, the way he mingled his nightlife with the formal experimentation he invented with Semiotext(e) and with his classes. Since the early 2010s, Donatien Grau has developed the habit of visiting Lotringer during his trips to Los Angeles; some of their dialogs were published or held in public. This book is an entry into Lotringer's life, his friendships, his choices, and his admiration for some of the leading thinkers of our times. The conversations between Lotringer and Grau show bursts of life, traces of a journey, through texts and existence itself, with an unusual intensity.