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The representation of the past through products of the 'culture industry' bears the history of a long debate between detractors and optimists. This controversy becomes especially significant in a time where commercial audiovisual media affect in unprecedented ways the content and the form in which massive audiences relate to the events of the past. Even more so in a so-called postmodern moment in which public confidence in the real is overall in decline. In this context, the debate on the representation of the history and memory of the Holocaust the paradigmatic example of limitations and imperatives to representational practice - has become a contemporary battlefield regarding the legitimacy and propriety of mass media products. By examining contemporary Holocaust representations that are at the intersection between the world of commercial mass media and the conventional nonfiction culture and documentary tradition (such as high-tech museums and Steven Spielberg's Survivors of the Shoah Visual History Foundation), this article will reflect upon the diverse implications of the mass media-history relation.

The article suggests an explanation for the emergence of new media. Media are not merely the consequence of technical inventions, but derive from a two-stage process of inventing and 'social institutionalizing'. The technical invention just improves on the old media: for example, Gutenberg improved writing, films improved older optical media and wireless improved wired telegraphy. In the next phase of innovation, new media become institutionalized: now, new media such as the periodical press, motion pictures and broadcasting emerge. A process of 'social institutionalizing' changes the invented media fundamentally. Society 'institutionalizes' inventions by discovering new possibilities of communication; it adopts and formats new media. The theoretical approach suggested in this article combines evolution theory with Joseph Schumpeter's distinction between invention and innovation. The article deals with the competitive media history of press, telegraphy, film, radio, television and multimedia. It provides a survey of the emergence of new media with respect to social, political, cultural, economic and technical debates.

"Reminding us that all media were once new, this book challenges the notion that to study new media is to study exclusively today's new media. Examining a variety of media in their historic contexts, it explores those moments of transition when new media were not yet fully defined and their significance was still in flux. Examples range from familiar devices such as the telephone and phonograph to unfamiliar curiosities such as the physiognotrace and the zograscope. Moving beyond the story of technological innovation, the book considers emergent media as sites of ongoing cultural exchange. It considers how habits and structures of communication can frame a collective sense of public and private and how they inform our apprehensions of the "real.""--Jacket.

The essays in Rethinking Media Change center on a variety of media forms at moments of disruption and cultural transformation. The editors' introduction sketches an aesthetics of media transition--patterns of development and social dispersion that operate across eras, media forms, and cultures. The book includes case studies of such earlier media as the book, the phonograph, early cinema, and television. It also examines contemporary digital forms, exploring their promise and strangeness. A final section probes aspects of visual culture in such environments as the evolving museum, movie spectaculars, and "the virtual window." The contributors reject apocalyptic scenarios of media revolution, demonstrating instead that media transition is always a mix of tradition and innovation, an accretive process in which emerging and established systems interact, shift, and collude with one another.

Aan de mediatycoon Ted Turner dankt de wereld het CNN-ejfect. Dat staat voor journalistieke invloed op de wereldpolitiek. Een voorbeeld ervan is het Amerikaanse optreden in Somalië. Het zou 'afgedwongen' zijn door televisiebeelden van hongerende kinderen die in december 1992 werden uitgezonden. De vraag is of dat wel zo is. In dit artikel onderzoekt communicatiewetenschapper Jan Schoeman welk aantoonbaar effect de journalistiek in het algemeen en CNN in het bijzonder op het internationale vredes- en veiligheidsbeleid heeft. Hij doet dat aan de hand van drie beeldbepalende militaire optredens in het televisietijdperk: de oorlog in Vietnam, de Golfoorlog en de nasleep daarvan, en de zogenoemde nieuwe militaire missies zoals in Somalië en Bosnië. --- War on twofronts. Media influence on peace-keeping policyThe world has media tycoon Ted Turner to thank for the 'CNN effect', which refers to the influence journalism wields on world politics. An example is the American intervention in Somalia, which was allegedly 'commanded' by televised images of starving children broadcast in December 1992. Whether there is any truth to this is debatable. Communications expert Jan Schoeman investigates demonstrable effects the media in general and CNN in particular have had on international peace-keeping policy. He bases his findings on three characteristic military events of the television age: the Vietnam War, the Gulf War and its aftermath and the latest military endeavours, for example in Somalia and Bosnia.

In times of war and peace alike, the government uses the media to inform the population with more or less objective news or propaganda. In his article, William Uricchio considers media technology as a weapon in the government's hands. How can the media almost literally be used as a weapons system? --- In tijden van oorlog — en ook daarbuiten — gebruiken overheden de media om de bevolking te informeren. Met meer of minder objectief nieuws of met propaganda. William Uricchio beschouwt in onderstaand artikel de mediatechnologie als een wapen in handen van de overheid. Hoe kunnen media bijna letterlijk fungeren als een wapensysteem?

For decades the residents of Taos, New Mexico have been afflicted by a low frequency humming—sometimes louder, sometimes almost inaudible—but never completely absent. On almost every college campus in North America, the buzz about using technology in teaching can be almost as annoying—and with each passing year, it gets louder. Although recent events in the American stock market have taken a good deal of the shine off of the idea that the Internet will fundamentally transform the economy, in higher education there seems to be no corresponding waning of enthusiasm for the infusion of new media into the educational experiences of students.

This collection of important new research in 19th-century media history represents some salient, recent developments in the field. Taking as its theme, the ways the media serves to define identities - national, ethnic, professional, gender, and textual, the volume addresses serials in the UK, the US, and Australia. High culture rubs shoulders with the popular press, text with image, feminist periodicals and masculine, gay, and domestic serials. Theory and history combine in research by scholars of international repute

A Companion to Media Studies is a comprehensive collection that brings together new writings by some of the most respected canonical and contemporary media studies scholars. The result is a fascinating overview of the theories and methodologies that have produced this most interdisciplinary of fields. Leading essayists - from Denis McQuail, John Nerone, Margaret Gallagher, and Dan Schiller to Charles Whitney, James Ettema, Jennings Bryant, and Ellen Wartella - tackle a variety of concepts and controversies from qualitative and quantitative perspectives, and with specific attention to issues of globalization and difference. The Companion showcases some of the most exciting work currently underway on feminist media, media history, the future of theory, digital capitalism, power, agency, popular culture, race, and intellectual property, and is organized into six areas of study: foundations, production, media content, media audiences, effects, and futures. A Companion to Media Studies provides an accessible and comprehensive point of entry into this expansive and interdisciplinary field

This article analyzes the evolution of the internet, with special emphasis on its impact on older media in their struggle to survive. The analysis is based on a 6-stage, natural life cycle model of new media evolution, comprising birth (technical invention), penetration, growth, maturity, self-defense, and adaptation, convergence or obsolescence. Our universal model melds several elements of previous theories and analyses from disparate fields such as media history, marketing, technological diffusion and convergence, while adding a few new aspects as well. The model's three contributions lie in expanding the scope –quantitatively and qualitatively –of new media's development stages (beyond the three or four stages noted by others); emphasizing the interaction and struggle between old and new media; and analyzing 'functional-life after appliance-death'of media transformed/co-opted into something old/new. Applying this model to the internet enables us to better understand its future evolution and the survival chances of older mass media.