-- Includes a record of Public Broadcasting's resistance to change, including an attempt made by Congress in the Telecommunications Act of 1992, to induce PBS to reform itself.
-- Must-reading for anyone who believes that Masterpiece Theater and Sesame Street represent the majority of the types of programming that PBS funds and supports, and who thinks that the new Republicans in Congress are raising a fuss over nothing.
Composed of articles from the journal, COMINT, published by the Center for the Study of Popular Culture, the only journal addressing public broadcasting from a conservative perspective. This book is the only critical account of PBS that has been published in that institution's entire 28-year history.
An exploration of how and why social media content is tagged as "not safe for work" and an argument against conflating sexual content with risk.
The hashtag #NSFW (not safe for work) acts as both a warning and an invitation. NSFW tells users, "We dare you to click on this link! And by the way, don't do it until after work!" Unlike the specificity of movie and television advisories ("suggestive dialogue," "sexual content"), NSFW signals, nonspecifically, sexually explicit content that ranges from nude selfies to pornography. NSFW looks at how and why social media content is tagged "not safe" and shows how this serves to conflate sexual content and risk. The authors argue that the notion of "unsafety" extends beyond the risk of losing one's job or being embarrassed at work to an unspecified sense of risk attached to sexually explicit media content and sexual communication in general.
The authors examine NSFW practices of tagging and flagging on a range of social media platforms; online pornography and its dependence on technology; user-generated NSFW content--in particular, the dick pic and associated issues of consent, desire, agency, and social power; the deployment of risqué humor in the workplace; and sexist and misogynist online harassment that functions as an enforcer of inequalities. They argue against the categorical effacement of sexual content by means of an all-purpose hashtag and urge us to shift considerations of safety from pictorial properties to issues of context and consent.
An innovative investigation of the inner workings of Spotify that traces the transformation of audio files into streamed experience.
Spotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. Spotify Teardown contests the tired claim that digital culture thrives on disruption. Borrowing the notion of "teardown" from reverse-engineering processes, in this book a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood.
Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made available online.
How art makes visible what had been invisible--the effects of radiation, the lives of atomic bomb survivors, and the politics of the atomic age.
The effects of radiation are invisible, but art can make it and its effects visible. Artwork created in response to the events of the nuclear era allow us to see them in a different way. In Invisible Colors, Gabrielle Decamous explores the atomic age from the perspective of the arts, investigating atomic-related art inspired by the work of Marie Curie, the bombings of Hiroshima and Nagasaki, the disaster at Fukushima, and other episodes in nuclear history.
Decamous looks at the "Radium Literature" based on the work and life of Marie Curie; "A-Bomb literature" by Hibakusha (bomb survivor) artists from Nagasaki and Hiroshima; responses to the bombings by Western artists and writers; art from the irradiated landscapes of the Cold War--nuclear test sites and uranium mines, mainly in the Pacific and some African nations; and nuclear accidents in Fukushima, Chernobyl, and Three Mile Island. She finds that the artistic voices of the East are often drowned out by those of the West. Hibakusha art and Japanese photographs of the bombing are little known in the West and were censored; poetry from the Marshall Islands and Moruroa is also largely unknown; Western theatrical and cinematic works focus on heroic scientists, military men, and the atomic mushroom cloud rather than the aftermath of the bombings.
Emphasizing art by artists who were present at these nuclear events--the "global Hibakusha"--rather than those reacting at a distance, Decamous puts Eastern and Western art in dialogue, analyzing the aesthetics and the ethics of nuclear representation.
Washington Post - 50 Notable Works of Nonfiction in 2019
Publishers Weekly - 10 Best Books of the Year
An incisive cultural history that captures a fractious nation through the prism of television and the rattled mind of a celebrity president.
Here, the legendary journalist and bestselling author delivers a hard-hitting manifesto on the precipitous decline in the quality and ethics of political reportage -- and issues a clarion call for change. Thomas confronts some of the most significant issues of the day, including the jailing of reporters, the conservative swing in television news coverage, and the administration's increased insistence on "managed" news. But she is most emphatic about reporters' failure to adequately question President George W. Bush and White House spokesmen about the lead-up to the invasion of Iraq, and on subjects ranging from homeland security to the economy. This, she insists, was a dire lapse.
Drawing on her peerless knowledge of journalism, Washington politics, and nine presidential administrations, as well as frank interviews with leading journalists past and present, Thomas provides readers with a rich historical perspective on the roots of American journalism, the circumstances attending the rise and fall of its golden age, and the nature and consequences of its current shortcomings. The result is a powerful, eye-opening discourse on the state of political reportage -- as well as a welcome and inspiring demand for meaningful and lasting reform.
The CD-ROM illustrates film elements and concepts with QuickTime clips from a wide variety of classic films: "Citizen Kane, Battleship Potemkin, Rear Window, The Plow That Broke the Plains, Vertigo, "and many more. This new version adds modules on Sound and Genre to provide an even stronger tool for film study.
" I escaped into America, and beyond it. The idea of America became my proud passport. A passion to conform made me a patriot. The discovery of words turned me into a skeptic. And the journalist's press pass sent me vaulting across borders to gain a spectacular perspective on our era. Like the astronauts floating in outer space, I've had a rare glimpse of the earth in my times, and it gave me an irrepressible urge to record the journey."
Max Frankel started to write for "The New York Times" as a student at Columbia in 1949, and during the next half century he held just about every important position on the paper--foreign correspondent, Washington bureau chief, editorials editor, and executive editor.
When The Times of My Life begins, Max Frankel is a boy in Nazi Germany; we experience the terror of his wartime escape with his heroic mother, their immigrant lives in New York, and a teacher's inspired decision that he could belatedly learn to read English if he learned to write it. And so Max Frankel found his career. His book, like his life, moves through Hitler's Berlin, Khrushchev's Moscow, Castro's Havana, and the Washington of Kennedy, Johnson, and Nixon. It reevaluates the Cold War and interweaves Frankel's personal and professional lives with the era's greatest stories, from Sputnik to the Pentagon Papers, from the building of the Berlin Wall to its collapse, all the while tracking the tensions of managing the world's greatestnewspaper.
Beautifully written, filled with anecdotes and insights, The Times of My Life evokes an unparalleled life as it embraces America in our time.
The symptoms of the crisis of the U.S. media are well-known--a decline in hard news, the growth of info-tainment and advertorials, staff cuts and concentration of ownership, increasing conformity of viewpoint and suppression of genuine debate. McChesney's new book, The Problem of the Media, gets to the roots of this crisis, explains it, and points a way forward for the growing media reform movement.
Moving consistently from critique to action, the book explores the political economy of the media, illuminating its major flashpoints and controversies by locating them in the political economy of U.S. capitalism. It deals with issues such as the declining quality of journalism, the question of bias, the weakness of the public broadcasting sector, and the limits and possibilities of antitrust legislation in regulating the media. It points out the ways in which the existing media system has become a threat to democracy, and shows how it could be made to serve the interests of the majority.
McChesney's Rich Media, Poor Democracy was hailed as a pioneering analysis of the way in which media had come to serve the interests of corporate profit rather than public enlightenment and debate. Bill Moyers commented, "If Thomas Paine were around, he would have written this book." The Problem of the Media is certain to be a landmark in media studies, a vital resource for media activism, and essential reading for concerned scholars and citizens everywhere.
"Filled with wisdom and thought experiments and things that will mess with your mind." -- Neil Gaiman, author of The Graveyard Book and American GodsIn sharply argued, fast-moving chapters, Cory Doctorow's Information Doesn't Want to Be Free takes on the state of copyright and creative success in the digital age. Can small artists still thrive in the Internet era? Can giant record labels avoid alienating their audiences? This is a book about the pitfalls, and the opportunities, creative industries (and individuals) are confronting today--about how the old models have failed or found new footing, and about what might soon replace them. An essential read for anyone with a stake in the future of the arts, Information Doesn't Want to Be Free offers a vivid guide to the ways creativity and the Internet interact today, and to what might be coming next.
----"The New York Times"
Imagine watching an entire day's worth of television on every single channel. Acclaimed environmental writer and culture critic Bill McKibben subjected himself to this sensory overload in an experiment to verify whether we are truly better informed than previous generations. Bombarded with newscasts and fluff pieces, game shows and talk shows, ads and infomercials, televangelist pleas and Brady Bunch episodes, McKibben processed twenty-four hours of programming on all ninety-three Fairfax, Virginia, cable stations. Then, as a counterpoint, he spent a day atop a quiet and remote mountain in the Adirondacks, exploring the unmediated man and making small yet vital discoveries about himself and the world around him. As relevant now as it was when originally written in 1992-and with new material from the author on the impact of the Internet age-this witty and astute book is certain to change the way you look at television and perceive media as a whole.
"By turns humorous, wise, and troubling . . . a penetrating critique of technological society."-"Cleveland Plain Dealer"
"Masterful . . . a unique, bizarre portrait of our life and times."
-"Los Angeles Times"
"Do yourself a favor: Put down the remote and pick up this book."
"From the Trade Paperback edition."