Your cart is empty
In all of journalism, nowhere are the stakes higher than in foreign news-gathering. For media owners, it is the most difficult type of reporting to finance; for editors, the hardest to oversee. Correspondents, roaming large swaths of the planet, must acquire expertise that home-based reporters take for granted -- facility with the local language, for instance, or an understanding of local cultures. Adding further to the challenges, they must put news of the world in context for an audience with little experience and often limited interest in foreign affairs -- a task made all the more daunting because of the consequence to national security.
In Journalism's Roving Eye, John Maxwell Hamilton -- a historian and former foreign correspondent -- provides a sweeping and definitive history of American foreign news reporting from its inception to the present day and chronicles the economic and technological advances that have influenced overseas coverage, as well as the cavalcade of colorful personalities who shaped readers' perceptions of the world across two centuries.
From the colonial era -- when newspaper printers hustled down to wharfs to collect mail and periodicals from incoming ships -- to the ongoing multimedia press coverage of the Iraq War, Hamilton explores journalism's constant -- and not always successful -- efforts at "dishing the foreign news," as James Gordon Bennett put it in the mid-nineteenth century to describe his approach in the New York Herald. He details the highly partisan coverage of the French Revolution, the early emergence of "special correspondents" and the challenges of organizing their efforts, the profound impact of the non-yellow press in the run-up to the Spanish-American War, the increasingly sophisticated machinery of propaganda and censorship that surfaced during World War I, and the "golden age" of foreign correspondence during the interwar period, when outlets for foreign news swelled and a large number of experienced, independent journalists circled the globe. From the Nazis' intimidation of reporters to the ways in which American popular opinion shaped coverage of Communist revolution and the Vietnam War, Hamilton covers every aspect of delivering foreign news to American doorsteps.
Along the way, Hamilton singles out a fascinating cast of characters, among them Victor Lawson, the overlooked proprietor of the Chicago Daily News, who pioneered the concept of a foreign news service geared to American interests; Henry Morton Stanley, one of the first reporters to generate news on his own with his 1871 expedition to East Africa to "find Livingstone"; and Jack Belden, a forgotten brooding figure who exemplified the best in combat reporting. Hamilton details the experiences of correspondents, editors, owners, publishers, and network executives, as well as the political leaders who made the news and the technicians who invented ways to transmit it. Their stories bring the narrative to life in arresting detail and make this an indispensable book for anyone wanting to understand the evolution of foreign news-gathering.
Amid the steep drop in the number of correspondents stationed abroad and the recent decline of the newspaper industry, many fear that foreign reporting will soon no longer exist. But as Hamilton shows in this magisterial work, traditional correspondence survives alongside a new type of reporting. Journalism's Roving Eye offers a keen understanding of the vicissitudes in foreign news, an understanding imperative to better seeing what lies ahead.
Social theory needs to be completely rethought in a world of digital media and social media platforms driven by data processes. Fifty years after Berger and Luckmann published their classic text The Social Construction of Reality, two leading sociologists of media, Nick Couldry and Andreas Hepp, revisit the question of how social theory can understand the processes through which an everyday world is constructed in and through media. Drawing on Schutz, Elias and many other social and media theorists, they ask: what are the implications of digital media's profound involvement in those processes? Is the result a social world that is stable and liveable, or one that is increasingly unstable and unliveable?
Radical Media Ethics presents a series of innovative ethical principles and guidelines for members of the global online media community. Offers a comprehensive new way to think about media ethics in a new media era Provides guiding principles and values for practising responsible global media ethics Introduces one of the first codes of conduct for a journalism that is global in reach and impact Includes both philosophical considerations and practical elements in its establishment of new media ethics guidelines
What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.
This core textbook offers a concise yet complete introduction to film, responding to shifts in the medium while addressing all of the main approaches that inform film studies. The rise of on demand internet-based video has transformed the way films are distributed and exhibited, with many previously unobtainable and obscure films becoming available for global audiences to view instantly. Interweaving historical and current theoretical approaches, Nick Lacey presents a tightly-focused and coherent overview of a discipline in transition, which can be read 'cover to cover' or in distinct chapters. With its original narrative line and student-oriented philosophy, the text greatly enriches student's appreciation of cinema, while equipping them with the essential skills and vocabulary to succeed in film studies. This is an ideal foundational text for all lecturers, undergraduate or A-level students of Film and Cinema Studies, as well as enthusiasts of film and cinema looking for a comprehensive guide.
Liveness is a persistent and much-debated concept in media studies. Until recently, it was associated primarily with broadcast media, and television in particular. However, the emergence of social media has brought new forms of liveness into effect. These forms challenge common assumptions about and perspectives on liveness, provoking a revisiting of the concept. In this book, Karin van Es develops a comprehensive understanding of liveness today, and clarifies the stakes surrounding the category of the 'live'. She argues that liveness is the product of a dynamic interaction between media institutions, technologies and users. In doing so, she challenges earlier conceptions of the notion, which tended to focus on either one of these contributors to its construction. By analyzing the 'live' in four different cases a live streaming platform, an online music collaboration website, an example of social TV, and a social networking site van Es explores the operation of the category and pinpoints the conditions under which it comes into being. The analysis is the starting point for a broader reflection on the relation between broadcast and social media.
This book is about the question of existence, the meaning of 'life'. It is an enquiry into the contemporary human situation as disclosed by television. The elementary components of any real-world situation are place, people and time. These are first examined as basic existential phenomena drawing on Heidegger's fundamental enquiry into the human situation in "Being and Time." They are then explored through the technological and production care-structures of broadcast television which, routinely and exceptionally, display the situated experience of being alive and living in the world today. It shows routinely in the live self-enactments of persons being themselves and the liveness of their ordinary talk on television. It shows exceptionally in television coverage of great occasions and catastrophes as they unfold live and in real time. Case studies reveal the existential role of television in salvaging the possibility of genuine experience, and in revealing the world-historical character of life today. To explore these questions, the agenda of sociology - its concern with economic, political and cultural life - is set aside. Being in the world is not, in the first (or last) instance, a social but an existential question, as an existential enquiry into television today discovers. Passionate and sweeping in scale, this new book from a leading media scholar is a major contribution to our understanding of the media today.
The Italian philosopher Maurizio Lazzarato has earned international acclaim for his analysis of contemporary capitalism, in particular his influential concept of immaterial labor and his perceptive writings on debt. In Videophilosophy, he reveals the underpinnings of contemporary subjectivity in the aesthetics and politics of mass media. First written in French and published in Italian and later revised but never published in full, this book discloses the conceptual groundwork of Lazzarato's thought as a whole for a time when his writings have become increasingly influential. Drawing on Bergson, Nietzsche, Benjamin, Deleuze and Guattari, and the film theory and practice of Dziga Vertov, Lazzarato constructs a new philosophy of media that ties political economy to the politics of aesthetics. Through his concept of "machines that crystallize time," he argues that the proliferation of digital technologies over the past half-century marks the transition to a new mode of capitalist production characterized by unprecedented forms of subjection. This new era of the commodification of the self, Lazzarato declares, demands novel types of political action that challenge the commercialization and exploitation of time. This crucial text by an essential contemporary thinker offers vital new perspectives on aesthetics, politics, and media and critical theory.
Still Shakespeare and the Photography of Performance examines the place of photography in the reception of the Shakespeare canon since the invention of the camera, looking at how photographic images have shaped perceptions of historicity, performance, and Shakespearean character, and how their dissemination has affected Shakespearean authority. Barnden reveals how photography has conditioned the reception of Shakespeare's works in two key ways. Firstly, as a form of performance documentation, photographs shape the way individual performances are remembered and their positioning in relation to traditional and iconoclastic interpretations of the text. Secondly, photographs are vehicles of Shakespearean iconography, encouraging certain compositions and interpretations. Exploring both theatrical and staged art photographs, Still Shakespeare demonstrates the role of photography as a contributor to the calcification of Shakespearean quotation, advertising, and iconography, and to the attrition of the relationship between image and text whereby images become attached to narratives far beyond their original context.
Herman and Chomsky's 'propaganda model' argues that there are five classes of 'filters' in society that determine what is news; in other words, what gets printed in newspapers or broadcast by radio and television. They are: "ownership" (is the story in line with the media owner's interests); "advertising" (is the story in line with the advertiser's interests); "sourcing" (does the story come from government departments and/or other powerful players); "flack" (if the story is aired, can the subjects of it pose a real threat, like the government, big advertisers and other organized groups); and "ideology" (does the story justify political maneuvering and defend corporate interests around the world). Whether a news item is going to be used by the media or not is going to depend on if it can pass through these filters.
"Filtering the News" begins with a critical review and assessment of the propaganda model, then applies Herman and Chomsky's model to a range of ongoing news events including Bush's war propaganda machine and the American mainstream media; Israeli propaganda; El Salvador and the question of intellectual responsibility; news coverage of near-genocide in occupied East Timor; the media on the environment; and Dan Rather and the problem with patriotism and American journalism, post-9/11. In the final chapters, Herman and Chomsky's propaganda model is revisited, and several common criticisms of the model are reflected upon and scrutinized.
Contributors include: Valerie Scatamburlo-D'Annibale, Bob Everton, Peter Eglin, Robert Jensen, Jeffery Klaehn, James Winter and Paul Boin.
Jeffery Klaehn teaches sociology at the University of Guelph. Apart from being published in a range of scholarly journals, including "Portuguese Studies Review," "Cultural Dynamics," "Journalism Studies," and "The Canadian Review of Sociology and Anthropology," he is the editor of "Studies in Popular Culture: Comic Books and Comic Book Culture."
The mythologising of lost and abandoned children significantly influences Australian storytelling. In The Lost Child Complex in Australian Film, Terrie Waddell looks at the concept of the 'lost child' from a psychological and cultural perspective. Taking an interdisciplinary Jungian approach, she re-evaluates this cyclic storytelling motif in history, literature, and the creative arts, as the nucleus of a cultural complex - a group obsession that as Jung argued of all complexes, has us. Waddell explores 'the lost child' in its many manifestations, as an element of the individual and collective psyche, historically related to the trauma of colonisation and war, and as key theme in Australian cinema from the industry's formative years to the present day. The films discussed in textual depth transcend literal lost in the bush mythologies, or actual cases of displaced children, to focus on vulnerable children rendered lost through government and institutional practices, and adult/parental characters developmentally arrested by comforting or traumatic childhood memories. The victory/winning fixation governing the USA - diametrically opposed to the lost child motif - is also discussed as a comparative example of the mesmerising nature of the cultural complex. Examining iconic characters and events, such as the Gallipoli Campaign and Trump's presidency, and films such as The Babadook, Lion, and Predestination, this book scrutinises the way in which a culture talks to itself, about itself. This analysis looks beyond the melancholy traditionally ascribed to the lost child, by arguing that the repetitive and prolific imagery that this theme stimulates, can be positive and inspiring. The Lost Child Complex in Australian Film is a unique and compelling work which will be highly relevant for academics and students of Jungian and post-Jungian ideas, cultural studies, screen and media studies. It will also appeal to Jungian psychotherapists and analytical psychologists as well as readers with a broader interest in Australian history and politics.
A revealing look at how today's bureaucrats are finding their public voice in the era of 24-hour media Once relegated to the anonymous back rooms of democratic debate, our bureaucratic leaders are increasingly having to govern under the scrutiny of a 24-hour news cycle, hyperpartisan political oversight, and a restless populace that is increasingly distrustful of the people who govern them. Megaphone Bureaucracy reveals how today's civil servants are finding a voice of their own as they join elected politicians on the public stage and jockey for advantage in the persuasion game of modern governance. In this timely and incisive book, Dennis Grube draws on in-depth interviews and compelling case studies from the United States, the United Kingdom, Australia, Canada, and New Zealand to describe how senior bureaucrats are finding themselves drawn into political debates they could once avoid. Faced with a political climate where polarization and media spin are at an all-time high, these modern mandarins negotiate blame games and manage contradictory expectations in the glare of an unforgiving spotlight. Grube argues that in this fiercely divided public square a new style of bureaucratic leadership is emerging, one that marries the robust independence of Washington agency heads with the prudent political neutrality of Westminster civil servants. These "Washminster" leaders do not avoid the public gaze, nor do they overtly court political controversy. Rather, they use their increasingly public pulpits to exert their own brand of persuasive power. Megaphone Bureaucracy shows how today's senior bureaucrats are making their voices heard by embracing a new style of communication that brings with it great danger but also great opportunity.
Sharing is central to how we live today: it is what we do online; it is a model of economic behaviour; and it is also a type of therapeutic talk. Sharing embodies positive values such as empathy, communication, fairness, openness and equality. The Age of Sharing shows how and when sharing became caring, and explains how its meanings have changed in the digital age. But the word 'sharing' also camouflages commercial or even exploitative relations. Websites say they share data with advertisers, although in reality they sell it, while parts of the sharing economy look a great deal like rental services. Ultimately, it is argued, practices described as sharing and critiques of those practices have common roots. Consequently, the metaphor of sharing now constructs significant swathes of our social practices and provides the grounds for critiquing them; it is a mode of participation in the capitalist order as well as a way of resisting it. Drawing on nineteenth-century literature, Alcoholics Anonymous, the American counterculture, reality TV, hackers, Airbnb, Facebook and more, The Age of Sharing offers a rich account of a complex contemporary keyword. It will appeal to students and scholars of the internet, digital culture and linguistics.
The evolution of story-telling is as old as the human race; from the beginning, when our ancestors first gathered around a campfire to share wondrous tales through oral traditions, to today, with information and stories being shared through waves and filling screens with words and images. Stories have always surrounded us, and united us in ways other disciplines can't. Storytelling for Interactive Digital Media and Video Games lays out the construct of the story, and how it can be manipulated by the storyteller through sound, video, lighting, graphics, and color. This book is the perfect guide to aspiring storytellers as it illustrates the different manner of how and why stories are told, and how to make them "interactive." Storytelling features heavy game development as a method of storytelling and delivery, and how to develop compelling plots, characters, settings, and actions inside a game. The concept of digital storytelling will be explored, and how this differs from previous incarnations of mediums for stories Key Features: Explores the necessary elements of a story (setting, character, events, sequence, and perspective) and how they affect the viewer of the story Discusses media and its role in storytelling, including images, art, sound, video, and animation Explores the effect of interactivity on the story, such as contest TV, web-based storytelling, kiosks, and games Shows the different types of story themes in gaming and how they are interwoven Describes how to make games engaging and rewarding intrinsically and extrinsically
With the rise of Jimmy Carter, a former Georgia governor and a relative newcomer to national politics, the 1976 presidential election proved a transformative moment in U.S. history, heralding a change in terms of how candidates run for public office and how the news media cover their campaigns. Amber Roessner's Jimmy Carter and the Birth of the Marathon Media Campaign chronicles a change in the negotiation of political image-craft and the role it played in Carter's meteoric rise to the presidency. She contends that Carter's underdog victory signaled a transition from an older form of party politics focused on issues and platforms to a newer brand of personality politics driven by the manufacture of a political image. Roessner offers a new perspective on the production and consumption of media images of the peanut farmer from Plains who became the thirty-ninth president of the United States. Carter's miraculous win transpired in part because of carefully cultivated publicity and advertising strategies that informed his official political persona as it evolved throughout the Democratic primary and general-election campaigns. To understand how media relations helped shape the first post-Watergate presidential election, Roessner examines the practices and working conditions of the community of political reporters, public relations agents, and advertising specialists associated with the Carter bid. She draws on materials from campaign files and strategic memoranda; radio and TV advertisements; news and entertainment broadcasts; newspaper and magazine coverage; and recent interviews with Carter, prominent members of his campaign staff, and over a dozen journalists who reported on the 1976 election and his presidency. With its focus on the inner workings of the bicentennial election, Jimmy Carter and the Birth of the Marathon Media Campaign offers an incisive view of the transition from the yearlong to the permanent campaign, from New Deal progressivism to New Right conservatism, from issues to soundbites, and from objective news analysis to partisan commentary.
In 1868 a scion of one of the leading families of Richmond, Virginia, ambushed and killed the city's most controversial journalist over an article that had dishonored the killer's family. In 1892 a Democratic politician killed a crusading Danville minister after a dispute at the polls. In 1907 a former judge shot to death the son of the Nelson County sheriff for an alleged rape, and in 1935 an Appalachian schoolteacher stood accused of killing her father by beating him with a shoe. All of these killers stood trial; two were convicted and two were acquitted. These cases attracted extensive press coverage, and journalists became not only recorders of the stories but integral parts of them, constructing the meaning of the events as they occurred and blurring the lines between reporter and reported.
Journalists from outside the state in their coverage of these cases provoked Virginians, and especially the press, to explain the interaction of their social values and legal system. In Murder, Honor, and Law, Richard F. Hamm explores the contrasts between how and to what effect national, particularly northern, newspapers perceived and portrayed Virginia law and custom versus how local papers covered the same events. In each of the cases Hamm shows the interplay of national media and culture with southern law, values, and culture and highlights how newspapers accepted, produced, altered, and disseminated ideas of southern exceptionalism, especially ideas about honor and chivalry. By focusing on the evolving press coverage of a number of crimes and trials over seventy years, Hamm illuminates the shift in southerners' defenses against northern criticism from a position of pride in a society in which honor could trump law to claims that the South was just as law-abiding as the rest of the nation. He thus illustrates some key aspects for transformations of southern exceptionalism.
The American South Series
Journalists are being imprisoned and killed in record numbers. Online surveillance is annihilating privacy, and the Internet can be brought under government control at any time. Joel Simon, the executive director of the Committee to Protect Journalists, warns that we can no longer assume our global information ecosystem is stable, protected, and robust. Journalists -- and the crucial news they report -- are increasingly vulnerable to attack by authoritarian governments, militants, criminals, and terrorists, who all seek to use technology, political pressure, and violence to set the global information agenda.
Reporting from Pakistan, Russia, Turkey, Egypt, and Mexico, among other hotspots, Simon finds journalists under threat from all sides. The result is a growing crisis in information -- a shortage of the news we need to make sense of our globalized world and to fight against human rights abuses, manage conflict, and promote accountability. Drawing on his experience defending journalists on the front lines, he calls on "global citizens," U.S. policy makers, international law advocates, and human rights groups to create a global freedom-of-expression agenda tied to trade, climate, and other major negotiations. He proposes ten key priorities, including combating the murder of journalists, ending censorship, and developing a global free-expression charter challenging criminal and corrupt forces that seek to manipulate the world's news.
Approved by AQA, the Student Book offers high quality support you can trust. // Written by experienced Media Studies teachers and examiners. // Knowledge, understanding and skills are developed through the textbook and presented in a highly accessible way. // Includes practical approaches to developing skills, and contemporary case studies of media industries throughout. // The Non-Examined Assessment is supported with a chapter containing clear, student-focused guidance. // Contains practical suggestions for effective ways to deliver the subject content. // Designed for students of all ability levels with extension questions and tasks to stretch and challenge the most able learners.
A continuation of 1994's groundbreaking Cartoons, Giannalberto Bendazzi's Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume II delves into the decades following the Golden Age, an uncertain time when television series were overshadowing feature films, art was heavily influenced by the Cold War, and new technologies began to emerge that threatened the traditional methods of animation. Take part in the turmoil of the 1950s through 90s as American animation began to lose its momentum and the advent of television created a global interest in the art form. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history. Key Features Over 200 high quality head shots and film stills to add visual reference to your research Detailed information on hundreds of never-before researched animators and films Coverage of animation from more than 90 countries and every major region of the world Chronological and geographical organization for quick access to the information you're looking for
More than any other decade, the Sixties captures our collective cultural imagination. And while many Americans can immediately imagine the sound of Martin Luther King, Jr. declaring, "I Have A Dream," or envision hippies placing flowers in gun barrels while staring down the National Guard, the revolutionary Sixties resonate around the world: China's communist government inaugurated a new cultural era, African nations won independence from colonial rule, and students across Europe took to the streets calling for an end to capitalism, imperialism, and the brutality of the Vietnam War. In this highly original work, James Meyer turns to art criticism, theory, memoir, and fiction to examine the fascination with the long Sixties and contemporary expressions of these cultural memories across the globe. Meyer draws on a diverse range of cultural objects that reimagine this revolutionary era stretching from the 1950s to the 1970s, including reenactments of civil rights, antiwar, and feminist marches, Cai Guo-Qiang's reconstructions of an iconic Cultural Revolution-era sculpture, and the television series Mad Men, to name only a few. Many of these works were created by artists and writers born during the long Sixties, who are driven to understand a monumental era that they missed. These cases show us that the past becomes significant only in relation to our present, and our remembered history, whether dark or glowingly nostalgic, never perfectly replicates time passed. This, Meyer argues, is precisely what makes our contemporary attachment to the past so important: it provides us with a critical opportunity to examine our own relationship to history, memory, and nostalgia.
Our favorite movies and TV shows feature indelible characters who tell us about themselves not just in what they say but in how they say it. The creative decisions behind these voices such as what accent or dialect to use offer rich data for sociolinguistic study. Ideal for students of language variation as well as general readers interested in media, Vox Popular is an engaging tour through the major issues of sociolinguistic study as heard in the voices from mass media. Provides readers with a unified and accessible picture of the interrelationships between language variation and the mass media Presents detailed original analyses of multiple audiovisual media sources Includes a broad methods chapter covering quantitative and qualitative methods in a style not available in any other textbook All theoretical terms are accessibly explained, with engaging examples, making it suitable for non-academics as well as undergraduate students Incorporates pedagogical textboxes throughout and includes sections dedicated to developing practical skills for the field
Designed to complement the AQA Media Studies for A Level Year 1 and AS Student Book, this practical and concise Revision Guide supports students preparing for their AQA AS Media Studies assessment. / Written by an experienced Media Studies teacher and senior examiner and presented in a clear and straightforward way making it accessible and easy to use. / Contains just the right amount of detail students need to recap and revise the key content from the course. / Provides examples of detailed analysis across the nine media forms using the theoretical framework and a selection of both the targeted and in-depth CSPs. / Offers advice and guidance on approaching the various types of questions students may encounter in the exam.
Few trends have had as much impact on television as formats have in recent years. Long confined to the fringes of the TV industry, they have risen to prominence since the late 1990s. Today, they are a global business with hundreds of programmes adapted across the world at any one time, from mundane game shows to blockbuster talent competitions, from factual entertainment to high-end drama. Based on exclusive industry access, this book provides an in-depth analysis of the complex world of the TV format from its origins to the present day. Chalaby delivers a comprehensive account of the TV format trading system and conceptualizes the global value chain that underpins it, unpicking the corporate strategies and power relations within. Using interviews with format creators, he uncovers the secrets behind the world s most travelled formats, exploring their narrative structure and cultural meanings.
You may like...
Dynamics Of Public Relations And…
A. Clear Paperback
Alone - The Search For Brett Archibald
Brett Archibald, Clare O' Donoghue Paperback
Media in Postapartheid South Africa…
Sean Jacobs Paperback
Hoax - Donald Trump, Fox News, and the…
Brian Stelter CD
Media Studies: Volume 1 - Media History…
Pieter J. Fourie Paperback (2)
Media Studies: Volume 3 - Media Content…
Pieter J. Fourie Paperback (1)
Constructing Hegemony - The South…
Mandla J. Radebe Paperback
Media ethics in South African context…
Lucas M. Oosthuizen Paperback
The Hype Machine - How Social Media…
Sinan Aral Hardcover
Media and Society
Michael O'Shaughnessy, Jane Stadler, … Paperback