"This book offers a diverse approach to journalism history told from a multimedia perspective, re-examining mainstream stories and highlighting contributions that are often overlooked. Interactive and accessible, Social Justice, Activism and Diversity in U.S. Media History is an indispensable resource for Generation Z, scholars in mass communication and American history, journalists and general readers"--
Introduction: Angels of efficiency -- Visualizing "everything under the sun" : mapping graphic media networks -- Visual culture and consulting : charting, simulation and calculation devices -- Gilbreth, Inc. : selling film to corporations -- Consulting, cinematic utopia, and organizational restraints -- Failing in style. Business consulting in wartime Berlin -- Conclusion: Consulting and the "managerial."
"Copyright is under attack. This book charts the development of this conflict in the U.S., Germany, France, and Great Britain and uses the examples of photocopy and sound recording to outline the complex rights and interests of all relevant parties from 1850 to the present day"--
Since it beginnings in the nineteen-seventies, the medium of video has been closely linked to the subcultural and countercultural movements of its time, both in art and in everyday culture in Germany. Art and music videos in particular demonstrate great subversive potential: artists and musicians oppose traditional values, transgress and repeatedly explore social norms and gender stereotypes. In this volume, queer academic as well as artistic research approaches and archival practices are reviewed in the context of a history of punk and its offshoots.
This study highlights the contributions of feminist media history to a range of disciplines. Focusing on the feminist press emerging from and reacting to the late nineteenth- and early twentieth-century British suffrage campaign, the book situates these sources in the context of current debates about the public sphere, social movements, and media history. The case studies include official organs of the suffrage movement, and feminist reviews such as the Englishwoman and the notorious Freewoman. Based on original research, the case studies are designed to offer detailed and comparative analyses of key periodicals representing diverging ideological positions and genres. They demonstrate the complex and often conflicting internal dynamics of early women's movements and the central role of print media in their engagement with the wider public.
Die Inhalte der verlinkten Blogs und Blog Beiträge unterliegen in vielen Fällen keiner redaktionellen Kontrolle.
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Sometimes I find myself thinking about the sequence, zine, blog, and podcast. I think about this in part because at one time or another I have had, or been involved with all three. In some ways each offers the same promise of DIY, self produced, media. Although I different scales of influence and material investment. To produce a zine all you need is access to a copier, or a Kinkos. That would make it possible to produce a zine. Getting it out was a different story. I did two issues of a zine when I was in college. Each had a run of about two hundred issues, available for stamps or trade. I am not sure if I got rid of all of them. A blog requires internet access, but not much technological knowledge, and can get more hits for one post in a day than an entire blog run. A podcast requires more technological knowledge, more capital in the form of a decent microphone, editing software etc., and can reach as many people as a blog, with the added bonus that if you get people to listen they will take in more. A blogpost can be read in a few minutes, but podcasts generally run an hour an episode. The history of independently produced media is a history of increased dissemination, it is easier to get more people to see or hear your ideas, but one that comes at increased cost and investment in technology.In each case we are talking only about the possibility of dissemination, a zine, a blog, or a podcast still has to reach an audience and convince them that it is worth their time. In the days of zines the primary way of making people aware of your zine was trading it with other zines, that and the coveted review in Maximum Rock and Roll or Punk Planet. Blogs and podcasts are more or less dependent on the attention economy of vectoralist class. It also occurred to me that one could make the same jokes about zines, blogs, and podcast. To have a zine, a blog, or a podcast is to be seen as being a little too invested in your own opinion and point of view. All of which is a long introduction to say that I just found out that my old zines are available on the Internet Archive.
There is not much to say about these zines. They are objects of nostalgia for me. I am not sure why anyone else would want to read them. They are worth sharing for two reasons. One, zines and zine culture was formative of my philosophical education. I do not think that I am alone in this, I have met too many people who have come to academia through the world of punk and zines. Some of the para-academic dimension of these zines is a bit much. I remember getting a bad review from Maximum Rock and Roll for including too much Foucault and Baudrillard in my zine. They were probably right, but there was something liberating for me in seeing a strange continuity between zine rants and the polemics of theory. In the very least it made me think of writing as something everyone can and should do. Two, I actually like the cartoons.
Editors of academic journals make general statements about criteria for accepting submissions, but more specific advice is often needed. What are the standards for history manuscripts in Journalism & Mass Communication Quarterly, especially now that its documentation style is being changed to American Psychological Association (APA)? The journal's history articles are useful examples of how to set substantial purposes and present perceptive interpretations. As they contribute to knowledge, such studies can stimulate thought about human experience and possibilities.
The paper discusses some concepts, trends, and deficits in recent media history, and it makes a plea for a history of communication to implement media into a broader conception of social history. Therefore, we employ a wider notion of mediatization which is used in media and communication studies, and re-formulate it for historical research. On the basis of that notion, we introduce the theoretical concept of 'communicative figurations' which an interdisciplinary research group in Bremen and Hamburg developed to ask how changing media environments and ensembles interrelate with societal and political transformations. In transferring it in research on imagined communities in times of analogue media, the paper presents some early insights into an on-going project and pursues questions about the communicative construction of collectivities.