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This selection of essays, articles, lectures, and other writings by
Erik Barnouw, dean of American media scholars, chronicles athe
phenomenon of old media giving way to new, and then being replaced
by them, as the ghosts of old media rise in new forms.a In Media
Lost and Found, the sixteenth century will introduce us to early
stirrings of photography, as well as the rise of ablack lists, a
which have a too-familiar ring within our own lifetime. The
collection begins with an article on documentary film pioneer
Robert Flaherty. Barnouw then moves to a discussion of his Dutch
heritage and its role in Western civilization. This is followed by
fascinating accounts of ingenious pioneers of camera obscura and
magic lantern phantasmagoria, precursors of the magic of motion
pictures. There are lively accounts of Barnouwas own experiences,
an informative brief history of communications breakthroughs, and
an examination of the foibles of media censorship. The final
articles discuss the importance of Indian filmmaker Satyajit Ray
and cinematographer Boris Kaufman, brother of Soviet filmmakers
Djiga Vertov and Mikhail Kaufman. In his writing and in his life,
Erik Barnouw has been consistently elegant, self-deprecating,
affectionate, and redolent of great depths, encouraging us to look
for and foster them in our own lives.
This selection of essays, articles, lectures, and other writings by
Erik Barnouw, dean of American media scholars, chronicles athe
phenomenon of old media giving way to new, and then being replaced
by them, as the ghosts of old media rise in new forms.a In Media
Lost and Found, the sixteenth century will introduce us to early
stirrings of photography, as well as the rise of ablack lists, a
which have a too-familiar ring within our own lifetime. The
collection begins with an article on documentary film pioneer
Robert Flaherty. Barnouw then moves to a discussion of his Dutch
heritage and its role in Western civilization. This is followed by
fascinating accounts of ingenious pioneers of camera obscura and
magic lantern phantasmagoria, precursors of the magic of motion
pictures. There are lively accounts of Barnouwas own experiences,
an informative brief history of communications breakthroughs, and
an examination of the foibles of media censorship. The final
articles discuss the importance of Indian filmmaker Satyajit Ray
and cinematographer Boris Kaufman, brother of Soviet filmmakers
Djiga Vertov and Mikhail Kaufman. In his writing and in his life,
Erik Barnouw has been consistently elegant, self-deprecating,
affectionate, and redolent of great depths, encouraging us to look
for and foster them in our own lives.
This is the second major revision of a book universally acclaimed as the definitive history of the documentary film. The final section has been completely rewritten and expanded to take into account the major films and trends of the past nine years. Particular attention has been paid to the growth of documentary film-making in the Soviet Union since Glasnost and the corresponding expansion in the United States, including Ken Burns's The Civil War, which broke all audience records for Public Television in 1990.
During the iQSo's, in a frontier atmosphere of enterprise and sharp
struggle, an American television system took shape. But even as it
did so, itspioneers pushed beyond American borders and became
programmers to scores of other nations. In its first decade United
States television was already a world phenomenon. Since American
radio had for some time had international ramifications, American
images and sounds were radiatingfrom transmitter towers throughout
the globe. They were called entertainment or news or education but
were always more. They were a reflection of a growing United States
involvement in the lives of other nationsan involvement of imperial
scope. The role of broadcasters in this American expansion and in
the era that produced it is the subject matter of The Image Empire,
the last of three volumes comprising this study.
Sweeping narrative of the technological advances, events, and
personalities that have made radio and television a dominant force
in contemporary society.
Tells how radio and television became an integral part of American life, of how a toy became an industry and a force in politics, business, education, religion, and international affairs.
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