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1.
Structural shifts behind the rise of podcasting have led to programming aimed at sustaining audience attention, a development coinciding with the sharp increase in engaged time with digital longform content among mobile users. This study industrially and culturally situates 3 case studies: True Murder (a pioneering precursor to This American Life producers’ Serial), S-Town (Serial’s successor that far exceeded its listenership), and Ear Hustle (Radiotopia’s experiment in subject-produced content made by two inmates at San Quentin State Prison). Each case illustrates how distinct sectors of the podcasting industry approach the production of absorbing nonfiction through transparent journalism featuring self-reflexive metanarrative. 相似文献
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《Communication monographs》2012,79(3):215-221
Ralph Waldo Emerson's theory of public address may be characterized as a rhetoric of provocation. Emerson did not see truth as encompassed by the human mind, set down in a book, or defended by logic. It is a state of mind, an attitude of searching for and listening to the voice within, the voice of God. The preacher‐orator cannot communicate truth directly to other men; he can only provoke them into searching for it on their own. The philosopher, orator, or preacher was, for Emerson, “only a more or less awkward translator” of ideas already in the consciousness of his audience. An orator functions as a “divining‐rod” to the deeper nature of men, lifting them above themselves and creating within them as appetite for truth. 相似文献
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R. Colin Tait 《The Communication Review》2014,17(3):166-182
The key to Will Ferrell’s success is his genuinely likeable comic persona that relies on overdetermined and excessively masculine and feminine traits. Accordingly, this article argues that despite criticism surrounding Ferrell’s comedic films, they actually have a great deal to tell us about masculinity and comedy in the new millennium. By discussing Anchorman, Elf, and Talledega Nights: The Ballad of Ricky Bobby, the author asserts that Ferrell’s films map changes to masculine identity in the post-9/11 era by their representations of absurd masculinity embodied in Ferrell’s comic persona. 相似文献
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Dannagal Goldthwaite Young 《The Communication Review》2013,16(1):27-52
This paper explores the themes of sacrifice and consumption in World War II advertising, including content analyses of advertisements and editorials in the Saturday Evening Post as well as a textual analysis of articles in the advertising trade publications Printer’s Ink and Industrial Marketing in 1942 and 1943. Results are discussed in terms of Cohen’s (2003) concepts of “citizen consumer,” “purchaser consumer,” and the ultimate American postwar dual-identity: “purchaser as citizen.” 相似文献
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Jennifer Stoever 《Journal of Radio & Audio Media》2019,26(1):119-133
“Black Radio Listeners in America’s “Golden Age’” argues that U.S. black listenership has been all but ignored in radio scholarship regarding the 1930s-1950s, as has the context of America’s racial segregation and radio’s active role in affirming and propagating it. The essay argues for an expanded understanding of archive and archival methodology in order to gain a more complex, accurate, and varied understanding of historical black listenership, and, toward that end, performs culturally contextualized close textual analysis across media: a 1937 Lead Belly song (“Turn Yo’ Radio On”), Joe Bostic’s column for The People’s Voice in the 1940s, Frederic Wakeman’s 1946 novel The Hucksters, a 1949 feature on black listeners in Sponsor magazine, a 1934 Vitaphone Short featuring Cab Calloway, and Ann Petry’s 1946 novel The Street. Through engaging with widely-varied representations of black radio listenership, Stoever argues that black listening practices from this period not only challenge the periodization of this era as the “Golden Age” of American radio, but also upend traditional categories of active, passive, and “resistant” listening that scholars have employed to understand media reception, revealing that active listening can look and sound different for black listeners, particularly in a period when listening “actively” to segregated media in ways prescribed by the dominant culture often proved to be deleterious. The act of “turning one’s radio on” was a complicated act of agency for black listeners, not simply a passive form of ignorance, escape, and/or anesthetization as popularly represented. 相似文献
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Michael L. Wayne 《The Communication Review》2014,17(3):183-201
This analysis explores the relation between class-stratified White masculinities and moral ambiguity in FX crime drama. Conflicts between morally ambiguous White men in The Shield (2002–2008), Sons of Anarchy (2008–present), and Justified (2010–present) support colorblind racial ideology by positioning a central antiheroic protagonist in opposition to overtly racist characters who embody stereotypes associated with the White underclass. In comparison with traditional crime dramas, these juxtapositions provide realistic depictions of contemporary America by acknowledging the existence of racial prejudice while the antihero’s ultimate victory stands as a rejection of anachronistic racial sensibilities drawing attention away from issues related to systemic inequality. 相似文献
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Guy Harrison 《Critical Studies in Media Communication》2019,36(2):140-155
The notion that women in the United States’ electronic sports media face greater standards of appearance is not new (Sheffer, M. L., & Schultz, B. (2007) Double standard: Why women have trouble getting jobs in local television sports. Journal of Sports Media, 2(1), 77–101). What has not been explored, however, is the persistence of this double standard through a Foucauldian lens. Using Michel Foucault’s (Foucault, M. (1978). The history of sexuality: Vol. 1, an introduction. New York: Vintage Books) power/knowledge paradigm, this Foucauldian discourse analysis uses one-on-one interviews with women sportscasters and textual analysis to grapple with this previously unexplored aspect of one of electronic sports media’s longest standing gendered double standards.
Using these data, this article argues that post-feminist discourses (Gill, R. (2007) Gender and the media. Cambridge: Polity Press; McRobbie, A. (2004) Post-feminism and popular culture. Feminist Media Studies, 4(3), 255–264) have a mutually informing relationship with three manifestations of the electronic sports media’s gendered double standard of appearance: sportscaster hiring and retention, inequitable media consumer evaluations of on-screen appearance, and expectations for sportscaster dress, the latter of which have required many women to wear increasingly revealing clothing, a trend this article refers to as nightclubification. While post-feminist analysis explicates the nuances of the appearance double standard and the electronic sports media’s contributions to our culture’s constructions of gender relations, Foucauldian discourse analysis demonstrates how the appearance double standard has been taken for granted and how it might inform other obstacles women in the industry must navigate. 相似文献
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KATYNKA ZAZUETA MARTÍNEZ 《The Communication Review》2013,16(2):155-174
Latina magazine is a bilingual women’s magazine that was launched in 1996 for a target audience of bicultural college-educated Latinas between the ages of 18 and 45. In an attempt to reach such a wide range of Latinas, the magazine makes an appeal to familial forms of identification, often presenting discourses of familial allegiances alongside calls for panethnic solidarity. This article presents a case study of the construction of Latinidad through a textual analysis of Latina articles on entertainment and romance and through interviews with the magazine’s editorial staff. Latina oscillates between celebrating the inclusion of Latina/os in the U.S. entertainment industry and speaking out against the criminalization of Latino men and the hypersexualization of Latina/os. This study situates the creation of Latino media in relation to theories of panethnic identification and research on the ideological function of popular culture and the marketing of ethnicity. 相似文献
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Lewis Young 《Media History》2016,22(1):123-134
On 1 January 1930 the Communist Party of Great Britain's (CPGB) new daily newspaper, the Daily Worker, was published for the first time. It was heralded by the CPGB as a maturing of the British Communist movement, and an opportunity for the Party to spread its message to a much wider audience than previous weekly newspapers would allow. With leading Party members in control of the paper, the Daily Worker was very much a Party newspaper; however, the CPGB wanted it to be much more than an internal bulletin. This paper examines the attempts by the CPGB to create a newspaper that spoke both for and with the voice of the working-classes, whilst also spreading the Party's message. It will ultimately conclude that the CPGB's depiction of it as a paper ‘by the working-classes, for the working-classes’ reflected the Party's efforts at locating its own place within the working-class movement. 相似文献
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Nancy Worthington 《The Communication Review》2020,23(1):46-65
ABSTRACTIn January 2018, a feminist blog, babe, detailed an anonymous woman’s date with comedian Aziz Ansari, ending with her accusation that he had sexually assaulted her by escalating his sexual advances despite her verbal and nonverbal objections. Online reaction to the babe article was swift and plentiful, including a New York Times editorial written by conservative provocateur Bari Weiss entitled, “Aziz Ansari is Guilty. Of Not Being a Mind Reader.” Weiss’ piece drew 2953 online responses before the comment section closed the next day, with wide-ranging views addressing the respective behaviors and motivations of Ansari, “Grace,” and Weiss. The responses provide an opportunity to explore how commenters negotiate the boundaries of the #MeToo movement in the venue that had ignited the movement’s resurgence with the story of movie mogul Harvey Weinstein’s longstanding sexual abuse of women working in the film industry. This study applies quantitative and qualitative analysis to comment discourse and elicits three major themes: (1) expectations for seeking or conveying consent, (2) criteria for publicizing the private, and (3) demarcations between insensitivity and abuse. Justifications frequently offered for the positions articulated were based on references to personal experience, cultural expectations, the #MeToo movement, and feminism. 相似文献
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Zvi Reich 《Journalism Practice》2014,8(5):619-631
For the first time, this paper studies the evolution of photojournalists' bylines compared to reporters' bylines, which proved a sensitive barometer of longitudinal changes in reporters' status, professionalism, creativity and authorship. Based on a sample of 8800 photographs and news items published across the twentieth century in five quality national dailies: New York Times, The Times of London, Le Figaro, Irish Times and Ha'aretz, this paper shows that photojournalists were discriminated against substantially, consistently and internationally throughout the entire century, lagging not only behind reporters, but also behind the growing centrality of their own photographs. This paper suggests that attribution of photojournalists was hindered by the perception of photography as an objective reproduction of reality that has a weaker claim to attribution; by publishers being attributed of photographic authorship; by the efforts of textual journalists to preserve their superior jurisdiction over news reporting, constructing the inferiority of photojournalism and restricting it to denotative functions; and by the conceptual separation between the growing significance of photography, and the secondary status of its creators, who remain visual creatures in a predominantly textual kingdom. Findings indicate how textual the DNA of the Western press is, which makes its survival more difficult in an increasingly visual world. 相似文献
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马端临的《文献通考》以杜佑《通典》为蓝本,卷帙浩繁、体例完备、内容翔实,汇集了我国从上古到有宋一代的典章制度,是一部我国中世纪集大成的典章制度编纂巨著。《文献通考》选材广征博引,多方考据;其内容推陈出新,详今略古,勘误纠谬;同时马端临自创辑录体体例,实事求是,独立不惑,谨慎存疑;反映出其"会通"思想和实证及求实思想。对于我们今天的档案文献编纂工作具有积极的借鉴意义。 相似文献
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Three recent Hollywood films, The Help (2011), Lee Daniels’ The Butler (2013) and Selma (2014), drew attention for depicting the Civil Rights Movement of the 1950s and 1960s. While Hollywood has been scrutinized for its role in racial discourse, less attention has been paid to how film critics discuss race in their reviews. This paper examines the critical response to these films, with an emphasis on the reviewers’ reliance on memory and history in forming their opinions. A textual analysis found that critics were reverential toward the movement and the black experience but still distrustful of the Hollywood system doing a credible job in explaining or understanding the events. The reviewers shaped and shared a memory of nightmarish race relations and prescribed corrections for both Hollywood and America. These reviews illustrate that film critics see themselves as arbiters not only of taste but also of history. 相似文献
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Richard P. Smiraglia 《Cataloging & classification quarterly》2017,55(5):269-288
Richard P. Smiraglia shares his personal evolution from early studies in music, to music cataloging, instantiation theory, and knowledge organization. People who have impacted his career and research direction are featured, as well as his work editing such publications as Library Resources & Technical Services, The Soldier Creek Music Series, and his continuing editorship of the journal Knowledge Organization. His contributions to the fields of cataloging, especially music cataloging, and his research in instantiation, domain analysis, and knowledge organization serve to advance Patrick Wilson's notion of exploitative power within a connected universe of knowledge. 相似文献
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W. ANDERSON 《Health information and libraries journal》1984,1(2):83-87
* Fictitious names have been used to protect these individuals.相似文献
was pre-lingually deaf, from three generations of deaf people. Today she is outgoing and successful in her job, and a ready communicator with everyone, deaf and hearing alike. Her communicating idioms, with both groups, are rich. She benefited from the twin forces in her childhood of family (all her family were highly attuned to the non-verbal idioms of communication) and one grandmother (who was hearning, and who provided what came to be seen as teh key intervening role at that time in Joan's development of a second language, the idiom of spoken English). Her own intellectual drive was the final component in a combination of motivating influences which led her to respond to both the financial and social necessities to gain verbal codes, leading to an ability to read and to understand what she read. She remains totally deaf and she knows that her speaking voice is not understood by strangers. Frank * * Fictitious names have been used to protect these individuals.
is a regular reader of newspapers, at least, that's what you would think if you saw him regularly. He does know certain words (or rather parts of words) and he constructs a story from his understanding of whatever catches his eye. At his job, which he does with skill, he is confident and earns the trust of colleagues and superiors. He is, however, illiterate. He knows that if he is seen to be ‘reading’ he will sustain the image he has created that he can read: he acts like a literate person. He is confident and competent in what he knows, which is enough for the regular and recurring nature of the tasks he is asked to perform in his job. He is knowledgeable and defensive about that knowledge but as a accepted at work, but any change or new demand, print-based, would sweep away his precarious confidence and, probably along with that, his job.
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《文物保护研究》2013,58(2):44-108
AbstractThomas Bardwell (1704–67), an English portrait painter, wrote a technical treatise entitled The Practice of Painting and Perspective Made Easy which was published in 1756. The section on painting deals exclusively with the oil technique and may be considered one of the most original productions of its kind written in England. A total of 153 paint samples were taken from 15 of Bardwell’s paintings dating between 1740 and 1766, the better part of his active career. Through cross-sections, and likewise numerous analyses, made from these paint samples it was possible to reconstruct Bardwell’s actual practice. This in turn could be compared with the suggested technique as explained in his book. Bardwell’s actual practice follows his written advice rather closely; however, in general it was discovered to be less complicated. 相似文献
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Patrick Scott 《The Communication Review》2016,19(3):237-247
Following his death in 2011, there has been a spate of publications on the work of Friedrich Kittler. This review essay discusses The Truth of the Technological World (2013), Kittler Now: Current Perspectives in Kittler Studies (2015), and Media After Kittler (2015). These three recently published collections feature essays that cover the history of Kittler’s writing, and trace out the debates about the significance of technical operation to the effects of media. Most importantly, the exegetical essays in these volumes signal a shift from earlier efforts to introduce Kittler’s writings towards a more robust conceptualization of how his work might benefit English-language theorizations of the contemporary media situation. 相似文献