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Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).

Der Beitrag präsentiert und erläutert die methodischen Aspekte eines Projekts, das sich mit dem Beginn, der Ausbreitung und der Integration des finnischen Fernsehens im Laufe seiner 50jährigen Geschichte befasst. Die Untersuchung setzt bei der Untersuchung der sich wandelnden Rolle des Fernsehens im Leben der Finnen auf Oral History in Form von schriftlichen Erinnerungen. Diese sozialgeschichtliche Studie kombiniert Methoden der ethnographischen Zuschauerforschung und der Zeitzeugenforschung. Dieser Ansatz wurde bislang nur selten in der Medienethnographie verfolgt. Er wirft Fragen auf zu Themen wie der Bedeutung von Kontexten, dem Wesen von Narrativen und zu Kodierungsmethoden. Der Bericht fasst zusammen, wie die Daten und das methodische Vorgehen des Projekts dazu geführt haben, eine dritte Generation medienhistorischer Forschung hervorzubringen. (UNübers.) (UN)

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.

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.