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Whether tainted by suppression or hailed as a liberator of truth,
the news is integral to our daily life. From the earliest news
reporting over 500 years ago to today's 24-hour coverage of events
in print and online, on television and on social media, the scope
of news has altered drastically. Fast-evolving technologies and
attitudes have shaped not only how we make news, but how we consume
it. But what makes an event 'news'? Are we justified in our
scepticism about shocking images and inflammatory headlines? Or is
the news a vital tool, enabling worldwide activism movements such
as #BlackLivesMatter and enforcing necessary scrutiny of the ethics
of those in power? Breaking the News asks timely questions about
how reporting in Britain has written the narrative for pivotal
moments in history. Among them are a grisly seventeenth-century
murder, COVID-19 public information campaigns, the NSA leak by
Edward Snowden and the news media's treatment of celebrities.
Feature biographies also highlight influential news breakers
through history, including writer and abolitionist Olaudah Equiano,
photojournalist Mohamed Amin and environmental rights activist
Greta Thunberg.
Charles Urban was a renowned figure in his time, and he has
remained a name in film history chiefly for his development of
Kinemacolor, the world's first successful natural colour moving
picture system. He was also a pioneer in the filming of war,
science, travel, actuality and news, a fervent advocate of the
value of film as an educative force, and a controversial but
important innovator of film propaganda in wartime. The book uses
Urban's story as a means of showing how the non-fiction film
developed in the period 1897-1925, and the dilemmas that it faced
within a cinema culture in which the entertainment fiction film was
dominant. Urban's solutions - some successful, some less so -
illustrate the groundwork that led to the development of
documentary film. The book considers the roles of film as informer,
educator and generator of propaganda, and the social and aesthetic
function of colour in the years when cinema was still working out
what it was capable of and how best to reach audiences. Luke
McKernan also curates a web resource on Charles Urban at
www.charlesurban.com
This book is a carefully selected, thematically arranged collection
of eyewitness accounts of seeing motion pictures - from the 1890s
to the present day, and from countries across the globe. Included
are essays, diaries, memoirs, travel accounts, oral history
interviews, poems and extracts from novels. These verbatim accounts
- from both professional and amateur writers - have been selected
not only for what they tell us about the historical experience of
cinema in many countries, but also for their literary value. Here
is evocative testimony that shows how deeply cinema touches
emotional needs, and the huge impact that the cinema has had on
modern society. While most film history studies are centred on
films or those who produce them, Picturegoers puts the voices of
the audience first. It analyses and celebrates the audience's point
of view, shaped by time, experience and place, providing a rich,
entertaining portrait of a medium that became so transformative
precisely because anyone, rich or poor, educated or not, could
share in it. The book will appeal to scholars interested in the
relationship between cinema and society, those engaged in audience
studies, and general readers interested in world cinema history.
Charles Urban was a renowned figure in his time, and he has
remained a name in film history chiefly for his development of
Kinemacolor, the world's first successful natural colour moving
picture system. He was also a pioneer in the filming of war,
science, travel, actuality and news, a fervent advocate of the
value of film as an educative force, and a controversial but
important innovator of film propaganda in wartime. The book uses
Urban's story as a means of showing how the non-fiction film
developed in the period 1897-1925, and the dilemmas that it faced
within a cinema culture in which the entertainment fiction film was
dominant. Urban's solutions - some successful, some less so -
illustrate the groundwork that led to the development of
documentary film. The book considers the roles of film as informer,
educator and generator of propaganda, and the social and aesthetic
function of colour in the years when cinema was still working out
what it was capable of and how best to reach audiences. Luke
McKernan also curates a web resource on Charles Urban at
www.charlesurban.com
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