Based on the classic History of Broadcasting in the United States, Tube of Plenty represents the fruit of several decades' labor. When Erik Barnouw--premier chronicler of American broadcasting and a participant in the industry for fifty years--first undertook the project of recording its history, many viewed it as a light-weight literary task concerned mainly with "entertainment" trivia. Indeed, trivia such as that found in quiz programs do appear in the book, but Barnouw views them as part of a complex social tapestry that increasingly defines our era. To understand our century, we must fully comprehend the evolution of television and its newest extraordinary offshoots. With this fact in mind, Barnouw's new edition of Tube of Plenty explores the development and impact of the latest dramatic phases of the communications revolution. Since the first publication of this invaluable history of television and how it has shaped, and been shaped by, American culture and society, many significant changes have occurred. Assessing the importance of these developments in a new chapter, Barnouw specifically covers the decline of the three major networks, the expansion of cable and satellite television and film channels such as HBO (Home Box Office), the success of channels catering to special audiences such as ESPN (Entertainment and Sports Programming Network) and MTV (Music Television), and the arrival of VCRs in America's living rooms. He also includes an appendix entitled "questions for a new millennium," which will challenge readers not only to examine the shape of television today, but also to envision its future.
Media history is his subject, and, as this memoir makes so delightfully clear, it has also been Erik Barnouw's life. Barnouw's story, told with wit and charm in Media Marathon, is the story of American culture adjusting to the twentieth century, of new media repeatedly displacing the old in a century-long competitive upheaval.
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.
Media history is his subject, and, as this memoir makes so delightfully clear, it has also been Erik Barnouw's life. Barnouw's story, told with wit and charm in Media Marathon, is the story of American culture adjusting to the twentieth century, of new media repeatedly displacing the old in a century-long competitive upheaval.
An examination of the effects on increasing conglomerate control of news and culture, by nine leading insiders and critics. What are the effects of increasing conglomerate ownership on the creation and dissemination of news and culture? Available for the first time in paperback, these nine essays by leading media insiders and critics take probing, critical looks at the dramatic changes of recent years. Opening with a fascinating overview of radio and television history by Erik Barnouw, the "dean of American media critics," the first part of the book features longtime media insiders such as Richard M. Cohen (former CBS Evening News senior producer) and Gene Roberts (managing editor of the New York Times), writing candidly on the effects of increasing profit expectations in the newsroom. In the second part of the book, prominent media analysts, such as Mark Crispin Miller (author of Boxed In), Thomas Schatz (author of The Genius of the System), David Lieberman (USA Today), and Patricia Aufderheide (In These Times), discuss the dumbing-down of the publishing industry, the transformation of Hollywood the increasing importance of merchandising and foreign rights in all media, and the false promise of the digital age. Finally, Thomas Frank (The Baffler) examines advertising and the possibility of resistance to conglomerate control of the media. Contributors include: Patricia Aufderheide, professor of communication at American University; Erik Barnouw, author of A History of Broadcasting in the United States; Richard Cohen, former senior producer of the CBS Evening News; Thomas Frank, editor-in-chief of The Baffier; Todd Gitlin, author of The Twilight of Common Dreams; David Lieberman, media analyst at USA Today; Mark Crispin Miller, author of Boxed In; Gene Roberts, managing editor of the New York Times; and Tom Schatz, author of The Genius of the System.
The author's purchase of a stone house in Vermont, a former Mormon place of worship, leads him to investigate its history and that of the Mormon Church.
The television sponsor has become semi-mythical. He is remote and unseen, but omnipresent. Dramas, football games, and press conferences pause for a ""word"" from him. He ""makes possible"" concerts and public affairs broadcasts. His ""underwriting grants"" brings the viewer music festivals and classic films. Interviews with visiting statesmen are interrupted for him, to continue ""in a moment.""Sponsorship is basic to American television. Even noncommercial television looks to it for survival. A vast industry has grown up around the needs and wishes of sponsors. Television's program formulas, business practices, and ratings have all evolved in ways to satisfy sponsor requirements. Indeed, he has become a potentate of our time.The Sponsor is divided into three parts. In ""Rise,"" Barnouw sketches the rise of the sponsor, in both radio and television, to his present state of eminence. In ""Domain,"" the sponsor's pervasive impact on television programming is examined, with an emphasis on network television, the primary arena of the industry. And in ""Prospect,"" Barnouw assesses what such dominance has meant for American society, mores, and institutions--and what it may mean for our future. This is a gripping volume about power, how it not only influences programming itself, but how it defines for the average person what is good, great, and desirable.
The television sponsor has become semi-mythical. He is remote and unseen, but omnipresent. Dramas, football games, and press conferences pause for a ""word"" from him. He ""makes possible"" concerts and public affairs broadcasts. His ""underwriting grants"" brings the viewer music festivals and classic films. Interviews with visiting statesmen are interrupted for him, to continue ""in a moment.""Sponsorship is basic to American television. Even noncommercial television looks to it for survival. A vast industry has grown up around the needs and wishes of sponsors. Television's program formulas, business practices, and ratings have all evolved in ways to satisfy sponsor requirements. Indeed, he has become a potentate of our time.The Sponsor is divided into three parts. In ""Rise,"" Barnouw sketches the rise of the sponsor, in both radio and television, to his present state of eminence. In ""Domain,"" the sponsor's pervasive impact on television programming is examined, with an emphasis on network television, the primary arena of the industry. And in ""Prospect,"" Barnouw assesses what such dominance has meant for American society, mores, and institutions--and what it may mean for our future. This is a gripping volume about power, how it not only influences programming itself, but how it defines for the average person what is good, great, and desirable.
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.
Media history is his subject, and, as this memoir makes so delightfully clear, it has also been Erik Barnouw's life. Barnouw's story, told with wit and charm in Media Marathon, is the story of American culture adjusting to the twentieth century, of new media repeatedly displacing the old in a century-long competitive upheaval.
Based on the classic History of Broadcasting in the United States, Tube of Plenty represents the fruit of several decades' labor. When Erik Barnouw--premier chronicler of American broadcasting and a participant in the industry for fifty years--first undertook the project of recording its history, many viewed it as a light-weight literary task concerned mainly with "entertainment" trivia. Indeed, trivia such as that found in quiz programs do appear in the book, but Barnouw views them as part of a complex social tapestry that increasingly defines our era. To understand our century, we must fully comprehend the evolution of television and its newest extraordinary offshoots. With this fact in mind, Barnouw's new edition of Tube of Plenty explores the development and impact of the latest dramatic phases of the communications revolution. Since the first publication of this invaluable history of television and how it has shaped, and been shaped by, American culture and society, many significant changes have occurred. Assessing the importance of these developments in a new chapter, Barnouw specifically covers the decline of the three major networks, the expansion of cable and satellite television and film channels such as HBO (Home Box Office), the success of channels catering to special audiences such as ESPN (Entertainment and Sports Programming Network) and MTV (Music Television), and the arrival of VCRs in America's living rooms. He also includes an appendix entitled "questions for a new millennium," which will challenge readers not only to examine the shape of television today, but also to envision its future.
In 1894 Wisconsin game wardens Horace Martin and Josiah Hicks were dispatched to arrest Joe White, an Ojibwe ogimaa (chief), for hunting deer out of season and off-reservation. Martin and Hicks found White and made an effort to arrest him. When White showed reluctance to go with the wardens, they started beating him; he attempted to flee, and the wardens shot him in the back, fatally wounding him. Both Martin and Hicks were charged with manslaughter in local county court, and they were tried by an all-white jury. A gripping historical study, The Murder of Joe White contextualizes this event within decades of struggle of White’s community at Rice Lake to resist removal to the Lac Courte Oreilles Reservation, created in 1854 at the Treaty of La Pointe. While many studies portray American colonialism as defined by federal policy, The Murder of Joe White seeks a much broader understanding of colonialism, including the complex role of state and local governments as well as corporations. All of these facets of American colonialism shaped the events that led to the death of Joe White and the struggle of the Ojibwe to resist removal to the reservation.
The presence of so many fabliaux in Chaucer's Canterbury Tales is intriguing in its own right, given the fact that there are no real fabliaux in Middle English befor Chaucer. But these stories are also interesting as instances of a concept and practice thas has received little critical attention so far, namely 'analogy', the writing and, above all, recognition of 'similar' stories. How to account for the literary practice that enables us to perceive stories as similar, c.q. analogous? This original study sets out to explore this phenomenon, first tentatively vis-?)vis other terms and practices (Translation, Borrowing, Adaptation, Version) and then, in the major part of the book, in a pragmatic-structuralist analysis of four salient components of narrative--Plot, Character, Thematics, and Genre--each illustrated with examples taken from Chaucer's fabliaux and their analogues in various European languages.In each of the four chapters the key-issue is Categorisation and Hertog traces its evolution and usefulness a a concept from Wittgenstein's family resemblances' and Zadeh's 'fuzzy set theory' to E. Rosch's Prototype theory. The conclusion draws attention to two aspects which set Chaucer's fabliaux very much apart from the other analogues: their contextuality within the polylogue of the Canterbury Tales, and secondly, their explicit intertextuality which invites us to look anew at the assumptions of traditional source-criticism. The study ends with some theoretical reflections on analogy and an attempt at definition.The book will interest not only Chaucerians and other medievalists but also scholars in literarry theory and interpretation.
This selection of essays chronicles "the phenomenon of old media giving way to new, and then being replaced by them, as the ghosts of old media rise in new forms." The sixteenth century will introduce us to early stirrings of photography, as well as the rise of "black lists." The collection begins with an article on documentary film pioneer Robert Flaherty. Barnouw then discusses 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; 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.
Media history is his subject, and, as this memoir makes so delightfully clear, it has also been Erik Barnouw's life. Barnouw's story, told with wit and charm in Media Marathon, is the story of American culture adjusting to the twentieth century, of new media repeatedly displacing the old in a century-long competitive upheaval.
The image of the shadow in mid-twentieth-century America appeared across a variety of genres and media including poetry, pulp fiction, photography, and film. Drawing on an extensive framework that ranges from Cold War cultural histories to theorizations of psychoanalysis and the Gothic, Erik Mortenson argues that shadow imagery in 1950s and 1960s American culture not only reflected the anxiety and ambiguity of the times but also offered an imaginative space for artists to challenge the binary rhetoric associated with the Cold War. After contextualizing the postwar use of shadow imagery in the wake of the atomic bomb, Ambiguous Borderlands looks at shadows in print works, detailing the reemergence of the pulp fiction crime fighter the Shadow in the late-1950s writings of Sylvia Plath, Amiri Baraka, and Jack Kerouac. Using Freudian and Jungian conceptions of the unconscious, Mortenson then discusses Kerouac’s and Allen Ginsberg’s shared dream of a “shrouded stranger” and how it shaped their Beat aesthetic. Turning to the visual, Mortenson examines the dehumanizing effect of shadow imagery in the Cold War photography of Robert Frank, William Klein, and Ralph Eugene Meatyard. Mortenson concludes with an investigation of the use of chiaroscuro in 1950s film noir and the popular television series The Twilight Zone, further detailing how the complexities of Cold War society were mirrored across these media in the ubiquitous imagery of light and dark. From comics to movies, Beats to bombs, Ambiguous Borderlands provides a novel understanding of the Cold War cultural context through its analysis of the image of the shadow in midcentury media. Its interdisciplinary approach, ambitious subject matter, and diverse theoretical framing make it essential reading for anyone interested in American literary and popular culture during the fifties and sixties.
Written as an introduction for beginning students, this book offers a thorough, yet lively, overview of human communication in all its aspects. Accessibly written and assuming no prior knowledge of the discipline Communication: An Introduction: offers a thorough, yet lively, examination of all aspects of human communication, including: a summary of its nature, form and function; a detailed analysis of all the levels of communication; a description and overview of the different traditions of communication studies; and a consideration of the future of communication - as a phenomenon and as a field of research.
After the turmoil of the Great Depression and World War II, Americans looked to the nation’s more distant past for lessons to inform its uncertain future. By applying recent and emerging techniques in mass communication—including radio and television programs and commercial book clubs—American elites working in media, commerce, and government used history to confer authority on their respective messages. With insight and wit, Erik Christiansen uncovers in Channeling the Past the ways that powerful corporations rewrote history to strengthen the postwar corporate state, while progressives, communists, and other leftists vied to make their own versions of the past more popular. Christiansen looks closely at several notable initiatives—CBS’s flashback You Are There program; the Smithsonian Museum of American History, constructed in the late 1950s; the Cavalcade of America program sponsored by the Du Pont Company; the History Book Club; and the Freedom Train, a museum on rails that traveled the country from 1947 to 1949 exhibiting historic documents and flags, including original copies of the U.S. Constitution and the Magna Carta. It is often said that history is written by the victors, but Christiansen offers a more nuanced perspective: history is constantly remade to suit the objectives of those with the resources to do it. He provides dramatic evidence of sophisticated calculations that influenced both public opinion and historical memory, and shows that Americans’ relationships with the past changed as a result.
This two-volume work addresses every key, cutting-edge issue regarding the First Amendment, including subjects such as freedom of religion, freedom of press, freedom of speech, and freedom of organization. First Amendment Rights: An Encyclopedia provides both historical information and current, 21st-century topics in First Amendment issues. Volume 1 addresses the subject through the lens of past decisions and precedent, updated to include controversies between new social media and civil liberties. Volume 2 examines the current state of First Amendment rights, addressing the changes in interpretations of the First Amendment by the Roberts Court as well as in-vogue issues such as Occupy Movements as well as student rights and responsibilities in freedom of religion and speech cases. Key cases are highlighted throughout the text to further comprehension of the underlying issues and subtle complexities. The information is presented so that readers can examine cases in the Roberts court and draw their own conclusions. Coverage is also provided of the challenges and opportunities that arise with the adoption of new technologies and their impact on the interpretations of the First Amendment.
Addressing a multitude of questions and issues surrounding how we use the media, Media Effects and Beyond represents the results of an international research programme into the use and effects of television, video and music. Seeing the viewer not simply as passive object but as a very active subject, the contributors engage with every aspect of children's, adolescents' and families' use of the media - its character, causes and consequences. Topics explored include media and social mobility; family commumication, and consumer lifestyles. Confronting the two traditions of lifestyle research and effects research, Media Effects and Beyond offers a much-needed reconceptualization of both. Written at a time when traditional European public service media systems struggle against a tidal wave of commercial electronic media, this book will be important reading for students of contemporary culture and communications, as well as media policy for decision makers.
What does it mean to be a documentary filmmaker in today's world? How are new technologies changing documentary filmmaking? What new forms of documentary are emerging? Recent technological developments have made the making and distribution of documentary films easier and more widespread than ever before. Creative Documentary: Theory and Practice is an innovative and essential guide that comprehensively embraces these changing contexts and provides you with the ideas, methods, and critical understanding to support successful documentary making. It helps the aspiring 'total filmmaker' understand the contemporary contexts for production, equipping you also with the understanding of creativity and visual storytelling you'll need to excel. Bridging the gap between theory and practice, it outlines the contemporary, institutional, practical and financial contexts for production - always encouraging innovation and originality. Key features: Five sections covering creativity and creative documentary and the contemporary creative industries: strategies for developing documentary ideas; the art of documentary narrative; digital production methods; new documentary forms; distribution and financing. Provides a comprehensive overview of critical thought and techniques in digital documentary filmmaking. Authors and specialist contributors combine the experience, knowledge and skills of academics and media professionals working in the industry. Practical case studies support analysis and reflection. Exercises, checklists, interviews with professionals and further reading materials accompany each chapter. A historical overview of world documentary. Creative Documentary: Theory and Practice is an essential guide for those engaged in the study and practice of documentary theory and making, as well as key reading for those more broadly interested in video, film and media theory and production.
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.
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.
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