This work explores, through case studies and critical analyses, how media depictions affect the social construction of gender, sexuality, and identity. Through a combination of historical and contemporary topics, scholars examine the stereotypical portrayal of women and men and the contexts within which these stereotypes are illustrated. The studies also discuss the sociopolitical implications of symbols and images associated with these gender representations. Concrete references to particular media support both the methodological and theoretical approaches of the different essays. These quantitative and qualitative studies expose the myriad ways in which the media intervenes in our perception of popular culture.

Media and mass communication scholars will appreciate the many different media forms these essays encompass. The multicultural and gendered perspectives that comprise these writings will also appeal to students and educators of gender studies and contemporary rhetoric. Chapters are grouped in subsections that include newspaper, visual image in media, magazine, television, video, film, and cyberspace.

The yellow press period in American journalism history has produced many powerful and enduring myths-almost none of them true. This study explores these legends, presenting extensive evidence that:

The yellow press did not foment-could not have fomented-the Spanish-American War in 1898, contrary of the arguments of many media historians.

The famous exchange of telegrams between the artist Frederic Remington and newspaper publisher William Randolph Hearst-in which Hearst is said to have vowed to furnish the war with Spain-almost certainly never took place.

The readership of the yellow press was not confined to immigrants and people having an uncertain command of English, as many media historians maintain. rather yellow journals were most likely read across the social strata of urban America.

The term yellow journalism emerged and took hold during a period of raging competition and intolerance among newspaper editors in New York City-and did not directly result from the rivalry between Hearst and Joseph Pulitzer, as most media historians claim.

The study also presents the results of a detailed content analysis of seven leading U. S. newspapers at 10 year intervals, from 1899 to 1999. The content analysis-which included the "Denver Post, Los Angeles Times, New York Times, Raleigh News and Observer, St. Louis Post-Dispatch, San Francisco Examiner" and "Washington Post"-reveal that some elements characteristic of yellow journalism have been generally adopted by leading U. S. newspapers. This critical assessment encourages a more precise understanding of the history of yellow journalism, appealing to scholars of American journalism, journalism history, and practicing journalists.

Engaging media has been an ongoing issue for American Jews, as it has been for other religious communities in the United States, for several generations. Jews, God, and Videotape is a pioneering examination of the impact of new communications technologies and media practices on the religious life of American Jewry over the past century. Shandler's examples range from early recordings of cantorial music to Hasidic outreach on the Internet. In between he explores mid-twentieth-century ecumenical radio and television broadcasting, video documentation of life cycle rituals, museum displays and tourist practices as means for engaging the Holocaust as a moral touchstone, and the role of mass-produced material culture in Jews' responses to the American celebration of Christmas.

Shandler argues that the impact of these and other media on American Judaism is varied and extensive: they have challenged the role of clergy and transformed the nature of ritual; facilitated innovations in religious practice and scholarship, as well as efforts to maintain traditional observance and teachings; created venues for outreach, both to enhance relationships with non-Jewish neighbors and to promote greater religiosity among Jews; even redefined the notion of what might constitute a Jewish religious community or spiritual experience. As Jews, God, and Videotape demonstrates, American Jews' experiences are emblematic of how religious communities' engagements with new media have become central to defining religiosity in the modern age.

A unique reference work exploring the interaction of ever more pervasive media and the U.S. judicial system in the 20th century. At a time when two-thirds of local news is crime- or court-related, when Court TV broadcasts daily, and when one lurid case can push all other news aside, Media and American Courts: A Reference Handbook offers a much-needed examination of how the press and the judicial system interact. Despite the benefits (a better-informed public, judicial accountability), has expanded coverage of the courts in fact weakened our democracy? Media and American Courts approaches this question by exploring the cases, the personalities, and the controversies that have redefined the court/press relationship in the past century as the media expanded from print and radio to courtroom cameras, cable, and the World Wide Web. It also includes suggestions from legal and media experts for making court news more accurate, informative, and useful. Glossary definitions written in clear, layman's language describing the terms necessary for a full understanding of media coverage of the judicial system Biographical sketches of prominent courtroom journalists, lawyers, and judges such as F. Lee Bailey, Marcia Clark, and Johnny Cochran

Perhaps the most sophisticated and complex of shows in HBO's recent history, Deadwood has surprisingly little coverage in our current scholarship. Grounding contemporary anxieties about race and class, domesticity and American exceptionalism in its nineteenth-century setting, Deadwood revises our understanding of a formative period for the American nation through a re-examination of one of the main genres through which this national story has been transmitted: the Western. With contributions from scholars in American studies, literature, and film and television studies, The Last Western situates Deadwood in the context of both its nineteenth-century setting and its twenty-first-century audience. Together, these essays argue for the series as a provocative meditation on both the state and historical formation of U.S. empire, examining its treatment of sovereign power and political legitimacy, capital accumulation and dispossession, racial and gender identities, and social and family structures, while attending to the series' peculiar and evocative aesthetic forms. What emerges from this collection is the impressive range of Deadwood's often contradictory engagement with both nineteenth and twenty-first century America.

World War I and Propaganda offers a new look at a familiar subject. The contributions to this volume demonstrate that the traditional view of propaganda as top-down manipulation is no longer plausible. Drawing from a variety of sources, scholars examine the complex negotiations involved in propaganda within the British Empire, in occupied territories, in neutral nations, and how war should be conducted. Propaganda was tailored to meet local circumstances and integrated into a larger narrative in which the war was not always the most important issue. Issues centering on local politics, national identity, preservation of tradition, or hopes of a brighter future all played a role in different forms of propaganda. Contributors are Christopher Barthel, Donata Blobaum, Robert Blobaum, Mourad Djebabla, Christopher Fischer, Andrew T. Jarboe, Elli Lemonidou, David Monger, Javier Pounce,Catriona Pennell, Anne Samson, Richard Smith, Kenneth Andrew Steuer, Maria Ines Tato, and Lisa Todd.

Making a new contribution to the developing field of multimodal critical discourse studies, Ian Roderick's book demonstrates how technologies that tend to be widely represented as innovative, or as simple pragmatic solutions, are always anchored in power relations and are therefore deeply ideological. A series of examples analysing technologies such as robotics, smart phones or bio-medicine, their functioning and uses, as well as their representations in the media, show that these are embedded within discourses that tell us about social and power relations, identities and political values. The book takes a tour of everyday technologies and how they are represented in different settings. A Disney theme park attraction showing how technology has improved family life makes many assumptions about what is natural in terms of interpersonal relations, pleasure and satisfaction. Advertisements that represent robot workers inform us about the kinds of worker-management relations now characterising work places. Roderick looks at the way that technologies, while often represented as divorced from their production and maintenance, as objects of wonder, need to be seen within a fabric of social relations that tends to be supressed from how we see them as part of a wider technological fetishism. Engaging with existing theories of technology, the book argues that we must take a more interdisciplinary approach to avoid the pitfalls of social constructivism and technological determinism. Our experiences of technologies are shaped through the relationship between knowledge, practices and institutional forms.

The school library media center is a relatively recent phenomenon. Its development throughout the 20th century has not always been predictable or peaceful, but neither has it been static or dull. Through personal and objective perspectives, this book relates the often turbulent history of the school library movement to times of rapid change. The authors address the mission of the school library program and how its realization has been shaped by professional organizations, standards and guidelines, accreditation associations, the education of library media specialists, collection development, evaluation, instruction, research, and technology applications. The relationship of the program to educational paradigms and to local, national, and international partnerships is also discussed. Students and instructors in school library media programs will find this work essential, and practicing library media specialists will find it a fascinating professional read.

How is affective experience produced in the cinema? And how can we write a history of this experience? By asking these questions, this study by Hauke Lehmann aims at rethinking our conception of a critical period in US film history - the New Hollywood: as a moment of crisis that can neither be reduced to economic processes of adaption nor to a collection of masterpieces. Rather, the fine-grained analysis of core films reveals the power of cinematic images to affect their audiences - to confront them with the new. The films of the New Hollywood redefine the divisions of the classical genre system in a radical way and thereby transform the way spectators are addressed affectively in the cinema. The study describes a complex interplay between three modes of affectivity: suspense, paranoia, and melancholy. All three, each in their own way, implicate spectators in the deep-seated contradictions of their own feelings and their ways of being in the world: their relations to history, to society, and to cultural fantasy. On this basis, Affect Poetics of the New Hollywood projects an original conception of film history: as an affective history which can be re-written up to the present day.

This open access book provides a detailed exploration of the British media coverage of the press reform debate that arose from the News of the World phone hacking scandal and the Leveson Inquiry. Gathering data from a content analysis of 870 news articles, Ogbebor shows how journalists cover debates on media policy and illustrates the impact of their coverage on democracy. Through this analysis, the book contributes to knowledge of paradigm repair strategies; public sphere; gatekeeping theory; the concept of journalism as an interpretive community; political economy of the press; as well as the neoliberal and social democratic interpretations of press freedom. Providing insight into factors inhibiting and aiding the role of the news media as a democratic public sphere, it will be a valuable resource for the press, media reform activists, members of the public, and academics in the fields of journalism, politics and law.

This volume includes a variety of first-hand case studies, critical analyses, action research and reflective practice in the digital humanities which ranges from digital literature, library science, online games, museum studies, information literacy to corpus linguistics in the 21st century. It informs readers of the latest developments in the digital humanities and their influence on learning and teaching. With the growing advancement of digital technology, humanistic inquiries have expanded and transformed in unfathomable complexity as new content is being rapidly created. The emergence of electronic archiving, digital scholarship, digitized pedagogy, textual digitization and software creation has brought about huge impacts on both humanities subjects and the university curricula in terms of nature, scope and design. This volume provides insights into what these technological changes mean for all the stakeholders involved and for the ways in which humanities subjects are understood. Part 1 of this volume begins with a broad perspective on digital humanities and discusses the current status of the field in Asia, Canada and Europe. Then, with a special focus on new literacies, educational implications, and innovative research in the digital humanities, Parts 2-4 explore how digital technology revolutionizes art forms, curricula, and pedagogy, revealing the current practices and latest trends in the digital humanities. Written by experts and researchers across Asia, Australia, Canada and Europe, this volume brings global insights into the digital humanities, particularly in the education aspect. It is of interest to researchers and students of cultural studies, literature, education, and technology studies. The strongest point of this collection of work is that, it brings important concepts to the study of digital literacies, for example, looking at it from the perspective of new literacies, languages and education. Daniel Churchill, Associate Professor, Faculty of Education, The University of Hong Kong With a rapidly growing advancement in digital tools, this book has made a relevant contribution by informing readers what the latest development of these tools are, and discusses how they can aid research, libraries, education and even poets across different continents. Samuel Kai-wah Chu, Associate Professor, Faculty of Education, The University of Hong Kong

This book analyzes the impact of social media on democracy and politics at the sub-national level in developed and developing countries. Over the last decade or so, social media has transformed politics. Offering political actors opportunities to organize, mobilize, and connect with constituents, voters, and supporters, social media has become an important tool in global politics as well as a force for democracy. Most of the available research literature focuses on the impact of social media at the national level; this book fills that gap by analyzing the political uses of social media at the sub-national level. The book is divided into two parts. Part One, "Social Media for Democracy" includes chapters that analyze potential contributions of social media tools to the realizing of basic values of democracy, such as public engagement, transparency, accountability, participation and collaboration at the sub-national level. Part Two, "Social Media in Politics" focuses on the use of social media tools by political actors in political processes and activities (online campaigns, protests etc.) at the local, regional and state government levels during election and non-election periods. Combining theoretical and empirical analysis, each chapter provides evaluations of overarching issues, questions, and problems as well as real-world experiences with social media, politics, and democracy in a diverse sample of municipalities. This volume will be of use to graduate students, academicians, and researchers, in several disciplines and fields, such as public administration, political science, ICT, sociology, communication studies and public policy as well as politicians and practitioners.

New forms of digitalization and digital media technologies are positively and negatively disrupting the free flow of information preservation. These new technologies are revolutionizing the way messages are transmitted and breaking the traditional monopolization of information by well-established institutions. Exploring the Relationship Between Media, Libraries, and Archives provides emerging research on new digital trends in information preservation, origination, and sharing. While highlighting the current shift in information sharing from institutional archives to digital platforms, readers will learn how media, librarians, and archivists reinvent their processes to meet the ever-progressing needs of users. This book is an ideal resource for librarians, archivists, information preservers, and media professionals aiming to find a balance among the use of media, new digital technologies, libraries, and archives in preserving and furthering information sharing.

Ce volume presente vingt-trois essais consacres a l'art francais et francophone des vingt-cinq dernieres annees et propose des analyses critiques d'une cinquantaine d'artistes majeurs qui travaillent sur des modes richement varies. The volume offers 23 new critical essays on contemporary French and francophone art, dealing with some fifty major artists working in a wide range of mediums.

Media and Information Literacy: An Integrated Approach for the 21st Century provides a novel rationale for the integration of media and information literacy and gives direction to contemporary media and information literacy education. The book takes a synthetic approach to these two areas, presenting critical histories of both. The book explores the influence of political forces and educational practice on media literacy and the contemporary media environment, focusing on computing and mobile technology as a platform for existing and non-computational media. The final section considers a new rationale for the adjustment of content and activities into a combined project, building on a range of skills from contemporary media, reconsidering the mission of media literacy, and advocating that media and information literacy be expanded out of the classroom and positioned as a 'public pedagogy'.

Michael Suman has brought together wide-ranging viewpoints of media advocates, media lawyers, academics, and entertainment industry representatives who examine the important public policy issue of how advocacy groups affect the entertainment industry.

In the first part of the book, representatives from media advocacy groups, including Action for Children's Television and Population Communications International, look at their efforts to utilize the media for policy purposes. In the second part, attorneys specializing in communications look at the ways advocacy groups have been aided as well as hindered by changes in the laws and public policy. Changes in advocacy groups as well as the entertainment industry in general are examined by various scholars in the third section. Representatives of the entertainment industry look at the impact of advocacy groups in the fourth section of the book. Scholars as well as public policy makers and those involved in entertainment oversight will find this a provocative analysis.

Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts-from the privileged few who witnessed experimental and limited-schedule programming in the 1920s and 1930s, to those who bought TV sets and hoisted antennae in the post-World War II television boom, to still more who invested in color receivers and cable subscriptions in the 1960s. While the first two major sections of this study show the views of television's first broad public, the third section shows how social and media critics, literary and visual artists, and others have expressed their charmed or chagrinned responses to television in its earliest decades. Media-jaded Americans, especially younger ones, would be surprised to know how eagerly their forebears anticipated the arrival of television. Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts-from the privileged few who witnessed experimental and limited-schedule programming in the 1920s and 1930s, to those who bought TV sets and hoisted antennae in the post-World War II television boom, to still more who invested in color receivers and cable subscriptions in the 1960s. Viewers' comments recall the excitement of owning the first TV receiver in the neighborhood, show the vexing challenges of reception, and record the pleasure that all young and many older watchers found in early network and local programs from the beginning to the fast-changing 1960s. While the first two major sections of this study show the views of television's first broad public, the third section shows how social and media critics, literary and visual artists, and others have expressed their charmed or chagrinned responses to television in its earliest decades.

Remote control tuning encourages a form of interactive television using a technology already available in 80 percent of American households. Editors Walker and Bellamy have compiled the first book of state-of-the-art research on a topic of growing interest to media researchers, practitioners, and students. Chapter authors combine survey measurements with recorded observations of viewing behavior, an analysis of the program sources accessed during "grazing," experimental studies of remote control use, and historical and critical analyses. Specific topics include: the history of the remote control device, gender differences in its use, family communication and parental control of the device, remote controls and selective exposure to media messages, the impact of remote controls on programming and promotion, remote controls and critical perspective on television, and future technologies. This volume is rooted in social scientific research, but theoretically and methodologically broad in scope.

Mass Moralizing: Marketing and Moral Storytelling examines the narratives of today's brand marketing, which largely focuses on creating an emotional attachment to a brand rather than directly promoting a product's qualities or features. Phil Hopkins explores these narratives' influence on how we think about ourselves and our moral possibilities, our cultural ideas about morality, and our relations to each other. He closely studies the relationship between three interrelated dynamics: the power of narrative in the construction of identity and world, the truth-telling pretenses of mass marketing, and the growth of moralizing as the primary moral discourse practice in contemporary consumer culture. Mass Moralizing scrutinizes the way marketing speaks to us in explicitly moralistic terms, significantly influencing how we think about ourselves and our moral possibilities.

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies--including "Ace in the Hole," "All the President's Men," "Network," and "Twelve Angry Men"--as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices.

Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, "Media Ethics Goes to the Movies" offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

This book explores the history of literature as a history of changing media and modes of communication, from manuscript to print, from the codex to the computer, and from paper to digital platforms. It argues that literature has evolved, and continues to evolve, in sync with material forms and formats that engage our senses in multiple ways. Because literary experiences are embedded in, and enabled by, media, the book focuses on literature as a changing combination of material and immaterial features. The principal agents of this history are no longer genres, authors, and texts but configurations of media and technologies. In telling the story of these combinations from prehistory to the present, Ingo Berensmeyer distinguishes between three successive dominants of media usage that have shaped literary history: performance, representation, and connection. Using English literature as a test case for a long view of media history, this book combines an unusual bird's eye view across periods with illuminating readings of key texts. It will prove an invaluable resource for teaching and for independent study in English or comparative literature and media studies.

Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history-and its implications for cross-cultural exchange-was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life. Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where "grindhouse cinema," the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind's eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate "exploitation" films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider "grindhouse cinema" from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of "grindhouse" itself, add flesh to the bones of its cadaverous history, or examine the term's contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

Split into four sections, Seeing Fans analyzes the representations of fans in the mass media through a diverse range of perspectives. This collection opens with a preface by noted actor and fan Orlando Jones (Sleepy Hollow), whose recent work on fandom (appearing with Henry Jenkins at Comic Con and speaking at the Fan Studies Network symposium) bridges the worlds of academia and the media industry. Section one focuses on the representations of fans in documentaries and news reports and includes an interview with Roger Nygard, director of Trekkies and Trekkies 2. The second section then examines fictional representations of fans through analyses of television and film, featuring interviews with Emily Perkins of Supernatural, Robert Burnett, director of the film Free Enterprise, and Luminosity, a fan who has been interviewed in the New York Magazine for her exemplary work in fandom. Section three explores cultural perspectives on fan representations, and includes an interview with Laurent Malaquais, director of Bronies: The Extremely Unexpected Adult Fans of My Little Pony. Lastly, the final section looks at global perspectives on the ways fans have been represented and finishes with an interview with Jeanie Finlay, director of the music documentary Sound it Out. The collection then closes with an afterword by fan studies scholar Professor Matt Hills.