In neighborhoods, schools, community centers, and workplaces, people are using oral history to capture and collect the kinds of stories that the history books and the media tend to overlook: stories of personal struggle and hope, of war and peace, of family and friends, of beliefs, traditions, and values—the stories of our lives. Catching Stories: A Practical Guide to Oral History is a clear and comprehensive introduction for those with little or no experience in planning or undertaking oral history projects. Opening with the key question, “Why do oral history?” the guide outlines the stages of a project from idea to final product—planning and research, the interviewing process, basic technical principles, and audio and video recording techniques. The guide covers interview transcribing, ethical and legal issues, archiving, funding sources, and sharing oral history with audiences. Intended for teachers, students, librarians, local historians, and volunteers as well as individuals, Catching Stories is the place to start for anyone who wants to document the memories and collect the stories of community or family.
Central Asia has long stood at the crossroads of history. It was the staging ground for the armies of the Mongol Empire, for the nineteenth-century struggle between the Russian and British empires, and for the NATO campaign in Afghanistan. Today, multinationals and nations compete for the oil and gas reserves of the Caspian Sea and for control of the pipelines. Yet “Stanland” is still, to many, a terra incognita, a geographical blank. Beginning in the mid-1990s, academic and journalist David Mould’s career took him to the region on Fulbright Fellowships and contracts as a media trainer and consultant for UNESCO and USAID, among others. In Postcards from Stanland, he takes readers along with him on his encounters with the people, landscapes, and customs of the diverse countries—Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan—he came to love. He talks with teachers, students, politicians, environmental activists, bloggers, cab drivers, merchants, Peace Corps volunteers, and more. Until now, few books for a nonspecialist readership have been written on the region, and while Mould brings his own considerable expertise to bear on his account—for example, he is one of the few scholars to have conducted research on post-Soviet media in the region—the book is above all a tapestry of place and a valuable contribution to our understanding of the post-Soviet world.
The First World War was the first conflict in which film became a significant instrument of propaganda. For the United States, the war had two distinct phases: from August 1914 to April 1917, America was officially a neutral country; after April 1917 the United States was in the war, providing men, money and munitions for the Allies. These two phases are mirrored in the newsreels and documentary films shown in the United States. This volume starts by examining the background to the war for the movie industry – the coverage of previous conflicts and the growth of the newsreel. It examines the experiences of American cameramen who worked in the war zone: their efforts to gain access to the front, to overcome problems ranging from unreliable equipment to poor lighting conditions to evading censorship and how this shaped the coverage of the war.
In Monsoon Postcards, journalist David H. Mould, notebook in hand, traverses the Indian Ocean—from Madagascar through India and Bangladesh to Indonesia. It’s an unpredictable journey on battered buses, bush taxis, auto-rickshaws, and crowded ferries. Mould travels from the traffic snarls of Delhi, Dhaka, and Jakarta to the rice paddies and ancestral tombs of Madagascar’s Central Highlands; from the ancient kingdom of Hyderabad to India’s so-called chicken neck—the ethnically diverse and underdeveloped northeast; and from the textile factories and rivers of Bangladesh to the beaches of Bali and the province of Aceh—ground zero for the 2004 tsunami. Along the way, in markets, shops, roadside cafes, and classrooms, he meets journalists, professors, students, aid workers, cab drivers, and other everyday residents to learn how they view their past and future. Much like its predecessor, Mould’s Postcards from Stanland, Monsoon Postcards offers witty and insightful glimpses into countries linked by history, trade, migration, religion, and a colonial legacy. It explores how they confront the challenges of climate change, urban growth, economic development, land, water and natural resources, and national and ethnic identity.
In Monsoon Postcards, journalist David H. Mould, notebook in hand, traverses the Indian Ocean—from Madagascar through India and Bangladesh to Indonesia. It’s an unpredictable journey on battered buses, bush taxis, auto-rickshaws, and crowded ferries. Mould travels from the traffic snarls of Delhi, Dhaka, and Jakarta to the rice paddies and ancestral tombs of Madagascar’s Central Highlands; from the ancient kingdom of Hyderabad to India’s so-called chicken neck—the ethnically diverse and underdeveloped northeast; and from the textile factories and rivers of Bangladesh to the beaches of Bali and the province of Aceh—ground zero for the 2004 tsunami. Along the way, in markets, shops, roadside cafes, and classrooms, he meets journalists, professors, students, aid workers, cab drivers, and other everyday residents to learn how they view their past and future. Much like its predecessor, Mould’s Postcards from Stanland, Monsoon Postcards offers witty and insightful glimpses into countries linked by history, trade, migration, religion, and a colonial legacy. It explores how they confront the challenges of climate change, urban growth, economic development, land, water and natural resources, and national and ethnic identity.
In neighborhoods, schools, community centers, and workplaces, people are using oral history to capture and collect the kinds of stories that the history books and the media tend to overlook: stories of personal struggle and hope, of war and peace, of family and friends, of beliefs, traditions, and values—the stories of our lives. Catching Stories: A Practical Guide to Oral History is a clear and comprehensive introduction for those with little or no experience in planning or undertaking oral history projects. Opening with the key question, “Why do oral history?” the guide outlines the stages of a project from idea to final product—planning and research, the interviewing process, basic technical principles, and audio and video recording techniques. The guide covers interview transcribing, ethical and legal issues, archiving, funding sources, and sharing oral history with audiences. Intended for teachers, students, librarians, local historians, and volunteers as well as individuals, Catching Stories is the place to start for anyone who wants to document the memories and collect the stories of community or family.
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